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CATCH THAT KID

About The Production
The former Bank of America building on Spring Street in downtown Los Angeles became the fictional Harderbach Financial Bank, which houses a foolproof bank vault that hovers 100 feet above the surface of the safe room. The monolithic building, a cornerstone of L.A.'s old Financial District, has polished marble walls and floors, ornate vaulted ceilings, and its original brass teller cages.

"We knew that the bank had to be visually impressive,” says production designer Tom Meyer. "We didn't want this to be your typical bank branch; this had to be as ornate and impressive as Grand Central Station. So we scouted the biggest lobby we could find, with shafts of light streaming through. In this environment, Maddy would feel as small as a kid could feel in an adult environment and just be overwhelmed. I wanted to get that unreal proportion, with grand hallways with large arches and bustling activity.”

Freundlich worked with director of photography Julio Macat to give the bank heist scenes a polished, saturated and modern look. "For the heist scenes we wanted to convey the look of a big slick movie – high tech all the way, with luster,” says Macat.

Upon completion of two weeks of location filming, the production moved to an industrial business complex in Santa Clarita, California, north of Los Angeles. The filmmakers converted two large warehouses into soundstages that housed the film's interior sets, such as bank offices, safe room, security room and the hospital where Tom Phillips awaits surgery.

Outside the stages, Meyer and his team transformed a large, vacant parking lot into the Phillips Karting Center, a go-cart track that serves as the kids' hang-out and inspiration for the bank heist.

After scouting several go-cart tracks in Southern California, the filmmakers decided to build their own. Six thousand hours of work, a thousand bales of hay, a couple thousand tires, and lots of paint, flags, and containers later, the filmmakers had their track.

"We started with a black asphalt parking lot and then figured out a way to help accentuate the action, go-cart speeds and dynamics,” says Meyer. "We wanted the go-cart scenes to feel like a video game where you're actually inside the car and get a sense of tremendous speed.”

For the heist getaway scenes, Meyer designed go-carts that were slick, stealthy and quiet. "We cut out holes in the bottom where we put in neon lights so the go-carts seem to float as they race down the street,” he says. "We also put a huge rear jack fin on the back of Gus's nitro-injected go-cart to accommodate some of the stunts and a new engine and muffler configuration.”

Stunt coordinator Gary Paul and his team trained the actors for the go-cart sequences. Though the actors performed some of the driving sequences, Paul brought in an experienced team of professional go-cart racers for the faster, more dangerous sequences.

Three elaborate camera rigs were used for the go-cart racing scenes: motorcycle side cars, a go-cart mounted with a special camera to reduce vibration, and a four-wheel quad-runner.

For the film's climax, second unit director Mic Rogers, along with Gary Paul's stunt drivers, choreographed a complex and action-packed chase sequence through the streets of downtown Los Angeles. The scene, which was filmed over several nights, incorporated about 20 stunt professionals, including the actor's stunt doubles, a dozen stunt drivers and a helicopter pilot.

In the CATCH THAT KID, Santa Clarita production facility, on a hill right above the go-track, is a large water tower where Maddy practices her climbing skills. For Kristen Stewart, the climbing and other physical rigors that came with the role were a fun challenge. Prior to filming, she spent two weeks training with Lisa Coleman, a co-founder and instructor at Yo! Basecamp, a Northern Calif

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