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How Porsche made a rare Mirage for the next ‘Transformers’ movie

AUSTIN, Texas — Great cars are essential for “Transformers” movie franchises, with facilities like Chevy Camaro closely associated with Autobots characters such as Bee. The star car of the latest season, “Transformers: Rise of the Beast,” out June 9, is rare and revered Porsche 911 Carrera RS 3.8, transformed into arrogant Autobot illusion voiced by Pete Davidson.

Little is known about the film and Mirage beyond what fans can glean from a 30-second trailer for the movie that debuted during the recent Super Bowl. But obviously classic silver and blue stripes porsche got a lead role because it was the ride of leading man Anthony Ramos, and it could have created multiple versions of itself to evade the police and possibly any pursuing Decepticons.

At South by Southwest in Austin, Texas, this past weekend, the film’s producer and several Porsche executives who assisted in the making of the film shared a stage and revealed a little more. about the iconic car’s role and what it takes to prepare a classic Porsche for the rigors of a big-budget action movie.

Only 55 examples of the 1993 Porsche 911 Carrera RS 3.8 were built as a one-off special edition for the 3.8 RSR race car and the model. was sold for more than 1.5 million USD In auction. So copy has to be built for the movie. “We did not want to ruin such a historic vehicle,” said Owen Shively, CEO of RTTM, which represents Porsche Cars North America in entertainment and product launches.

Shively oversaw the construction of the 911 Carrera RS 3.8 replica. “I have never even seen one, but I had to go out and make five in a very short time,” he said. That helps with that, although the 911 Carrera RS 3.8 is unique, it shares the same chassis with 911s for more than three decades.

“It has the same overview shell,” Shively said. “What allowed us to do that was a 911 turbine from 1965 to 1998. You could take that base and build it into an RS 3.8.”

When it comes to sourcing parts to create authentic replicas of the 1994 movie, Shively Know 1990s helps a lot too. Porsche and a lot of their owners. “I was lucky that in the 90s I was working at a Porsche shop in Reno called Sport Haus managing the parts department,” says Shively. “With my background in sports car racing and with Porsche we can go to the owner and find spare parts. Everyone just opened up their garage for us.”

“It’s a very unique thing,” said film producer Lorenzo di Bonaventura. “I have worked with many brands, but the passion of Porsche owners and their willingness to contribute is incredible — and we have benefited from that. I have never seen such enthusiasm for something they possess.

Keeping the copies running and ready for Mirage’s scenes was another challenge. “We have brought in technicians from Porsche so that if something goes wrong, they can fix it on the spot and service it overnight to keep production running. rolling,” said Scott Baker, director of marketing communications for Porsche Cars North America.

Placement call times are typically 3 a.m., Baker added. “And this is not a day where, over the course of weeks, they’re tweaking some of the things that can happen in a shot and if a car needs to be fixed.”

“And it wasn’t just a matter of weeks, but in the three countries where the film was shot – and we beat them,” di Bonaventura added. “With a big Hollywood movie like this, a single day of production can cost anywhere from $250,000 to $500,000. If a car doesn’t work, that’s a big problem. There’s a lot of pressure on Porsche to keep the cars running because it’s the typical vehicle when you’re watching a movie.”

Each vehicle also had a specific role in the filming, Shively said. “One has to step back, the other has to jump. All of them are designed like a pro and have to perform in extreme conditions.”

“We approach it like a competitive situation, like coming to a stop where you have to turn around and get them out,” says Shively. “Between shots, they had to leave the set and come back to resume production.

“If you approach filmmaking the same way you approach motorsport,” he says, “you’ll always win.”


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