Latest / BREAK/FIX the Motorsports & Vehicle Enthusiast Variety Show / Reimagining the DeLorean: A Designer’s Tribute to Legacy, Passion, and Possibility

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Reimagining the DeLorean: A Designer’s Tribute to Legacy, Passion, and Possibility · BREAK/FIX the Motorsports & Vehicle Enthusiast Variety Show

• 0:00
  BreakFix podcast is all about capturing the living history of people from
• 0:04
  all over the autosphere, from wrench turners and racers to artists, authors,
• 0:09
  designers, and everything in between.
• 0:11
  Our goal is to inspire a new generation of petrolheads that wonder.
• 0:16
  How did they get that job or become that person?
• 0:19
  The road to success is paved by all of us because everyone has a story.
• 0:27
  And by the renowned car, motorcycle camera, and firearm designer, Giorgetto
• 0:33
  Giugiaro, the DeLorean DMC 12 is an American sports car that debuted in 1981.
• 0:38
  And despite a brief production run, it became a bonafide automotive icon when it
• 0:43
  was thrust into the cultural mainstream.
• 0:45
  Upon the DeLorean's 40th anniversary, Spain's Angel Guerra was determined
• 0:50
  to bring the steel bodied, gull wing doored DMC 12 squarely into the 21st
• 0:55
  century with a next generation concept.
• 0:58
  And with that, my co host for this episode is the one and only Kat DeLorean,
• 1:03
  along with Angel, dialing in from his home in Seville, Spain, to tell us
• 1:07
  all about this revolutionary new car.
• 1:10
  So welcome to both of you to Break Fix.
• 1:12
  Thank you for having me back.
• 1:14
  Hi, everyone.
• 1:15
  All right, Angel.
• 1:16
  Like every good break fix story, there's always an origin.
• 1:19
  So tell us about your journey as a petrol head and how you
• 1:23
  became a automotive designer.
• 1:25
  Where did your passion for your cars come from?
• 1:27
  How did you become a designer?
• 1:29
  I can tell you a story that my mother used to tell to some friends and to everyone.
• 1:34
  So in my neighborhood, it's.
• 1:36
  I didn't know how to speak yet.
• 1:38
  I was famous because of my mother.
• 1:40
  When she took me for a walk, I was pointing at any car, you know, that I saw
• 1:44
  on the street and I used to say the brand and the model, why I don't know, but I
• 1:49
  used to say, you know, it was a Mercedes.
• 1:52
  It was a BMW, but not, not only the brand, also the model, you know?
• 1:55
  So to be honest, to be a car designer is something that.
• 2:00
  You need a really big, big background of knowledge, and this knowledge,
• 2:04
  you start to get it when you are a baby, when you are a kid, and when
• 2:08
  you are playing with cars, watching cars on the TV, on the street, I will
• 2:12
  say 90 percent of the background that you need to be as a car designer.
• 2:17
  Then I was a bit lost, you know, because you grow up, you just have to do a
• 2:21
  different since you became a teenager.
• 2:24
  So you don't know what's going on.
• 2:26
  And I will say that they took not the right direction.
• 2:29
  Because I studied as an engineer, but actually what I do to design the car,
• 2:34
  not the proper word of an engineer.
• 2:37
  So when I was working as an engineer and I finished my career, I say,
• 2:41
  okay, this is not what I want to do.
• 2:44
  And I decided to break away of this.
• 2:46
  Where can I go to be a car designer?
• 2:48
  In that time in Spain, I didn't have any reference about
• 2:52
  people or places where to go.
• 2:54
  To learn this, looking in internet, I found a school in Barcelona in the
• 2:58
  north of Spain, a really expensive one.
• 3:01
  I wasn't sure about what to do to look for my dream, you
• 3:03
  know, a bit crazy, and I did it.
• 3:06
  I went to a bank, I asked for a credit, and I went to study to Barcelona.
• 3:09
  I quit my job as an engineer.
• 3:11
  After two years, I was already working in a design studio.
• 3:15
  Then I remembered to say, okay, should I stop here in Spain or maybe to
• 3:19
  move into another places because at the end I'm living out of my place.
• 3:23
  Um, and it went through many places around Europe.
• 3:25
  I went first to Paris in France, and then I realized that.
• 3:29
  You know, the big brands are in Germany.
• 3:31
  I found some projects always as a freelancer in Porsche, in Mercedes.
• 3:36
  Then in Munich, you have BMW and many brands from Europe and from China working.
• 3:43
  They have a place in Germany and a studio where they develop their cars.
• 3:48
  It was there where I really get the proper knowledge to say,
• 3:51
  okay, now I'm a car designer.
• 3:53
  You know, I think that to begin a car designer, you know,
• 3:56
  each of us are a car designer.
• 3:59
  We can say we're like this, I will change that.
• 4:01
  Oh, I don't like how this from bumper ends or wherever this proportion and
• 4:06
  the like, this is because we have a background as a petrol head, you know,
• 4:09
  but not only as a petrol head, we love vehicles in any way, motorcycles.
• 4:15
  Tracks banks, you know, anything, anything.
• 4:18
  So if you don't like this, since you're a kid, it's impossible
• 4:21
  to be a company center.
• 4:22
  So I don't really know when this hobby has started to be something
• 4:27
  that is a profession in my life.
• 4:29
  The difference when I sit to work, for example, the DeLorean
• 4:32
  project, I did it in my free time.
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  And when I have to work.
• 4:36
  For Bugatti or for Rimac, I don't feel the difference.
• 4:39
  The difference is that I prepare an invoice by the end of the
• 4:42
  month and they pay me back.
• 4:43
  But I'm having the same fun, to be honest.
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  I don't know what is the split line between how to be a car designer or how
• 4:52
  to become a car, maybe the experience or the knowledge to develop a car.
• 4:55
  But when you are eight years old and you are painting a car, even a horrible
• 5:00
  car on a paper, you are a car designer.
• 5:03
  You are, I can tell you many histories about the people that I found in my
• 5:08
  career, in the early years, in the high school, even in the university, they saw
• 5:13
  me skating, for example, in a class where I should be attending to another subject.
• 5:17
  And the teacher told me, ah, so you like to get cars.
• 5:21
  And I say, yeah, I mean, they, they asked me, would you like to be a car designer?
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  I say, it's quite difficult.
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  It's quite hard, but I would like to have the possibility at least to try.
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  And they told me that.
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  I wasn't good enough or Spain is not a place to be a car designer.
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  You know, instead of motivated, they told me, no, it's
• 5:38
  impossible for you to do that.
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  You know, I maybe it was 15 years old and I was already a car design, not
• 5:44
  a professional one, but a teenager with the hope to be one day a car
• 5:49
  designer, you know, a professional one.
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  Even if I don't reach this dream, I'm a car designer, you are a car
• 5:56
  designer, that is a car designer, everyone could be a car designer.
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  There is a day that someone pay you for a job and you say, okay, now I'm
• 6:03
  a car designer, but no, you are a car designer much earlier, I would say.
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  You're describing the difference between a professional and somebody
• 6:11
  who is the thing you're saying.
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  Just because you're not a professional yet and getting paid doesn't
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  mean you're not a car designer.
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  I hadn't heard that whole story before.
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  I can't stop smiling because that is the story behind everything we're doing.
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  I've always told people it's never too late to change your mind.
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  As long as you're following your passion, you'll be successful.
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  And that if you follow your passion, then you will never
• 6:37
  work another day in your life.
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  I've had that experience in my career where I woke up every day and couldn't
• 6:42
  decide if I was Getting paid to play or work because work was so much fun.
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  So I cannot be more excited in this moment right now, because that is
• 6:53
  just the most perfect story for D& G.
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  And you hit on something really, really important.
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  It's a sentiment that I've also heard expressed by other leaders in the space.
• 7:03
  And if you go back and even look at John DeLorean's stories or Lee Iacocca's or
• 7:07
  others, they say, you know, I started as a designer or an engineer at such and
• 7:11
  such company, but I didn't want to be the guy designing the ashtray for the
• 7:15
  right rear door of the new Cadillac.
• 7:18
  And you said that yourself, you're like, this wasn't for me.
• 7:20
  And then suddenly you went from engineer.
• 7:22
  to artists.
• 7:23
  So I'm wondering when you went back to school, did your engineering studies
• 7:27
  help you in becoming a car designer?
• 7:29
  Or did you have to check all that at the door and basically start over
• 7:32
  again as an artist, especially as a graphic artist in today's world?
• 7:35
  Not really.
• 7:36
  As an engineer, I learned 99 percent of my skills, um, working, I would
• 7:42
  say, or by myself, not in the school, not in, in the university.
• 7:47
  No.
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  Maybe right now you have more opportunities because there are many
• 7:51
  tutorials on the internet, many videos, and now you can learn a bit more by
• 7:55
  yourself, but not like 20 years ago.
• 7:58
  It was impossible.
• 7:59
  So the only possibility to learn something about how to become a car designer,
• 8:04
  because at the end it's a mix of, as you say, art and technique, is really hard.
• 8:10
  Because if you have to sketch, you have to be able to transfer this sketch into a 3D.
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  You must be able to massage and to go step by step and do a lot of iterations about
• 8:22
  this 3D until you have an early volume and idea of the car and you finish that
• 8:28
  into a production model that could be, you know, it depends on the technology,
• 8:32
  this part could be 3D printing, molding, milling, whatever, you know.
• 8:37
  When or where do you get this knowledge?
• 8:40
  I will say you get it working.
• 8:42
  It's strange, you know, because of, for example, if you want to boil houses,
• 8:46
  you know what you have to study.
• 8:48
  If you want to learn how to cook the same, but if you want to learn how to make cars.
• 8:53
  There are not many places to learn this, but it's not only in Spain or
• 8:57
  Europe, it's the same in USA, you have two or three good places, that's all.
• 9:02
  In Europe, the same, two or three.
• 9:04
  Maybe in Asia, you have a couple of them.
• 9:07
  But, after years I met the same people around the world, you know, I found
• 9:13
  out a colleague that I was working with him 15 years ago in Germany.
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  And now I know that, for example, he's working with me.
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  There is not many people doing that.
• 9:23
  We are almost the same guys.
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  You know, it's funny because it's hard to know where to study.
• 9:28
  And for example, now I get a lot of messages from students.
• 9:33
  Oh, I would like to do what you are doing.
• 9:34
  What should I do?
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  I did this question to myself, but 20 years ago, I suppose that
• 9:40
  they already know where to go.
• 9:41
  If you Google it, you should have an answer, you know, and the problem
• 9:45
  is that the answer that you get back in Google is a school, but maybe
• 9:49
  it goes 30, 000 years per year.
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  So It's impossible for almost everyone to go to study into these places.
• 9:57
  You can do it by yourself, but at the end you need a master's degree
• 10:00
  in transportation design to open the doors of any studio, you know?
• 10:04
  I did it 20 years ago because it was a bit cheaper.
• 10:08
  I will tell you something funny.
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  20 years ago, I went to ask for a credit into a bank.
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  I want a credit to study.
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  And the director of the bank told me, this is a lot of money to study.
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  And say, Yeah, but this is they told me, Will you get a job after this master?
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  And I say, I have no idea.
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  I just want to go there to study this and to get this education.
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  And he told me, you shouldn't do that.
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  This is the money that people takes to buy a car, for example.
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  This is the level of people when you say, I want to go to start, I mean,
• 10:38
  a person who has a high education, you know, I want to study this and
• 10:42
  they say you shouldn't do that.
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  It's expensive.
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  And maybe you don't get a job after that.
• 10:47
  This is the problem that there are many people with talent.
• 10:51
  that they're looking where to go and study this and they don't have any idea.
• 10:55
  So when Kat told me that she wants to create a program for students to
• 11:00
  show them a way where they can learn about automotive, let's say design,
• 11:05
  engineering, ergonomics, aerodynamics, tooling, production, whatever.
• 11:10
  I know that many students will say, Hey, we want to do this.
• 11:14
  So this is one of the best idea that I, you know, and she's got the
• 11:18
  Lodian, everybody knows about her.
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  So I'm sure that she will get a lot of students knocking the door and say, Hey,
• 11:26
  we want to be in this course for sure.
• 11:28
  So when you say, Oh, they're a designer, you know, everybody sees
• 11:32
  about German, Italy, and actually.
• 11:35
  They are right.
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  I mean, the best schools are in that places.
• 11:39
  Many people from Europe, from Asia, from India, they used to travel to
• 11:44
  Germany or Italy to study there.
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  And it's really expensive.
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  So I would like to share my knowledge, not in a, in a, in a school.
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  where they charge a lot of money to a student.
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  You know, I want to share my, my, my knowledge with Kat.
• 11:59
  We can prepare some class.
• 12:01
  For example, I can teach some designs or give some thoughts about my experience,
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  but also about, okay, let's just speak about how we design a car, you know.
• 12:08
  And for free.
• 12:09
  And if we achieve this, I think that it will be something unique in the
• 12:14
  way that there are no people offering this, and it will be quite successful.
• 12:19
  So let's expand upon that thought for a moment.
• 12:22
  So you mentioned in the early days you were freelancing and you name
• 12:25
  dropped Rimac as well as Bugatti.
• 12:27
  So I'm wondering about your relationship with Italdesign How does that work?
• 12:34
  Did you work for, as we like to call him, Il Maestro himself, or how did
• 12:39
  you take your inspiration to design the car that we're going to be
• 12:41
  talking about here in a little bit?
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  Giugiaro is the top designer.
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  Giugiaro and Gandini.
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  Ital design was famous in the eighties, in the nineties.
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  I think Giugiaro left Ital design long time ago.
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  So there is a proper Ital design, but Giugiaro is not working there.
• 12:57
  So for me, it's not the same Ital design than before.
• 13:01
  I have a lot of books of car design.
• 13:03
  I know the history of Giorgetto Giugiaro and Gandini because
• 13:06
  for me, it's my reference.
• 13:08
  So talking about Giugiaro, that was the designer of the DeLorean, what
• 13:12
  he did, he was to create something, in my opinion, really clean, really
• 13:17
  nice, in a really clever way.
• 13:19
  And one of the design that I like the most, I say, okay, I would like to
• 13:24
  take a look and to the original model and to redesign the original model.
• 13:28
  Where to get inspiration?
• 13:30
  So the inspiration is the model itself.
• 13:32
  I don't need to get more inspiration.
• 13:34
  So my job as a car designer with my skills, with my tools, with my knowledge
• 13:38
  is to transfer this design into 2021.
• 13:43
  That was when it was done.
• 13:45
  What I took from him, the regional model, but I also took some reference
• 13:50
  from John DeLorean, you know, because at the end the car was theater was
• 13:54
  done by Gito Giro, but the package and everything was done by John DeLorean
• 13:59
  in this mix became something unique.
• 14:02
  That it was the, the design of the D DMC 12.
• 14:06
  I say, okay, should have something from geo geo design,
• 14:09
  but also from John DeLorean.
• 14:11
  When I look at John DeLorean, I see a clever guy.
• 14:15
  It's a very elegant, you know, and sophisticated.
• 14:17
  And also I was thinking, Okay, if you're in the Laurian had the
• 14:20
  opportunity to make another DeLorean taking care about the previous design,
• 14:24
  I think that he won't just copy the design into nowadays proportions.
• 14:31
  You should do the same but different.
• 14:33
  You should do something that should look like at the previous DeLorean,
• 14:37
  but with a modern treatment, and it should look futuristic.
• 14:42
  Nowadays, you know, as the DeLorean look.
• 14:45
  futuristic in the 80s.
• 14:47
  I tried to respect the original design from Giorgetto Giugiaro, but also
• 14:52
  take something from John DeLorean and to bring them into this 2020.
• 14:56
  So just thinking about if they have a meeting today, both, what they will do.
• 15:01
  I didn't think about, okay, if I would make the DeLorean, you know, thinking
• 15:06
  about myself, I will do it like this or I will insert this element I think
• 15:11
  most of the designers, they have a lot of ego, and this is the worst.
• 15:15
  You have to take a look into the model, think about it, think about the age that
• 15:21
  was done, the people who was involved, and to try to transfer all this.
• 15:26
  in 40 years forward in time and what you have to give is to give the modern
• 15:32
  treatment and to find something that will make the car unique nowadays.
• 15:37
  At the same time that you have to respect the originals and
• 15:40
  keep it simple, clean, clever.
• 15:43
  Elegant and it's difficult, you know, but this is my job.
• 15:47
  My inspiration was Gito Giro, but also John DeLorean because I think that the car
• 15:53
  is so good because of them, because I, I, I knew that John gave to Gito a package,
• 15:59
  and he had to redesign the idea that he had to, the packets that John wanted.
• 16:04
  They, they were working quite close, and the result was.
• 16:08
  I think that your background in engineering is particularly
• 16:13
  helpful, especially in this project.
• 16:15
  I actually think it's an asset because a lot of times when I have conversations
• 16:19
  with Angel about the car and how I want to change things and modify things, it
• 16:23
  comes down to not just how it's going to look, but how it's going to function
• 16:26
  from an engineering perspective, that background allows you Angel to be
• 16:32
  a little bit of both, that is truly a unique scenario that can create.
• 16:37
  This spirit of the DeLorean in a way that literally everybody in the entire
• 16:42
  world agrees is unique and incredible.
• 16:45
  It really does capture the spirit of the car in a way that je So I cannot
• 16:52
  put it into words why this car just does what it does, but you've nailed it.
• 16:57
  It tugs on that familiarity while being new and exciting.
• 17:01
  And it has elements that allow you to just feel.
• 17:04
  For me, I can see his whole automotive history.
• 17:07
  I can actually see elements of the GTO and the Corvette, all sorts of things,
• 17:12
  just these little touches where I can feel his evolution over time in this
• 17:17
  car, which may be because the DeLorean was the culmination of all of its years,
• 17:22
  but it really does capture it so well.
• 17:24
  Thank you.
• 17:25
  To your point, the design that we're talking about now has been
• 17:27
  around for a couple of years.
• 17:29
  You designed it, like you said, on the side back in 2021, the middle of
• 17:32
  COVID, while we're all kind of stuck at home, wondering what to do next
• 17:36
  and talk about a passion project at the end result of this folks that I've
• 17:40
  shown this to the same gut reaction is in concert with what Kat just said.
• 17:46
  The first word out of their mouths are.
• 17:48
  Now this is a DeLorean, right?
• 17:50
  That's usually the visceral reaction to when they see the
• 17:53
  design that you came up with.
• 17:55
  Mine was slightly tweaked on that where I went, that looks like something
• 17:58
  that Jujaro designed, not knowing that you had designed it, because it spoke
• 18:02
  to the original design, knowing that the DMC 12 was designed by Jujaro.
• 18:07
  So it makes me wonder if we kind of Peel this back just a little bit.
• 18:11
  We're all children of a certain age in a certain era.
• 18:13
  So what did you think when you first saw the DMC 12 as a kid?
• 18:17
  You spoke about, I could name the car and the model and this and that.
• 18:21
  So when you saw DMC 12, what did that make you think?
• 18:24
  And was there something that also propelled you to become a designer?
• 18:28
  Spain at the end of the 80s.
• 18:30
  As a kid, you play on the street, you don't have any
• 18:34
  kind of digital entertainment.
• 18:37
  I remember to listen something about Back to the Future, but I didn't have any idea
• 18:41
  what was it because when they released in that time a movie, they released
• 18:46
  it in Spain, maybe three years later.
• 18:48
  Oh, there is a movie Back to the Future, but I didn't have the
• 18:51
  opportunity to go to the cinema.
• 18:52
  So you have to wait and to rent it into the video club, but you know, you have
• 18:56
  one chance per week to rent a movie because of, you know, your parents, they
• 19:00
  give you only a bit and you say, okay, I have to, you just, you stay in this
• 19:04
  video club for one hour choosing one movie and you between 20, I never had the
• 19:10
  opportunity to watch what to the future.
• 19:12
  So I have to wait to watch it on the TV.
• 19:14
  I say, okay, I will watch it on the TV.
• 19:17
  And I remember one month.
• 19:20
  It was on a spot on TV.
• 19:21
  Okay.
• 19:22
  In one month we will put back to the theater in TV, you know, and
• 19:25
  it was the first movie in Spain available in stereo on the TV.
• 19:30
  So I remember that day at home, my father plucked the Hi Fi stereo into
• 19:36
  the television and we start to watch.
• 19:39
  back to the future.
• 19:40
  I didn't have any idea that I will see that kind of car.
• 19:43
  So when I saw, you know, in the impact of the future, when the track opens
• 19:47
  the door and you see the back of the DeLorean rolling down the track in
• 19:52
  that moment, I felt something special.
• 19:55
  I don't know what to say, but you know, you have this kind of feelings
• 19:59
  in your life, you know, when you met someone, when you are in love, when
• 20:02
  you live a really special moment.
• 20:04
  So for me, it was an special moment because I knew that I was
• 20:08
  seeing something unique and it it's not related to the time machine?
• 20:13
  No, no, no.
• 20:14
  The, the, it, it wasn't about the time machine or the elements
• 20:17
  and components around the car.
• 20:19
  I was fascinated about the car and say, what is this?
• 20:23
  I had to go look for Atlo, Delorian and I, I try, do you know the DeLorean brand?
• 20:28
  You know, it was already, I think.
• 20:30
  1989, so nobody could tell me what is Laurean?
• 20:35
  What is the valorian?
• 20:36
  I know Ferrari.
• 20:38
  Mercedes, what happened with DeLorean brand?
• 20:40
  Until I didn't get proper access to internet, I couldn't look for the answers.
• 20:47
  But I will say that that feeling, the, the feeling that I felt.
• 20:51
  Watching that car, somehow it was the starting point to say, wow, one
• 20:57
  day I want to do something like this.
• 21:00
  And maybe it sounds a bit strange, but there are two moments in my life.
• 21:04
  Really important because of it was in the early age where you know, that
• 21:09
  cars are really important in your life.
• 21:11
  One moment, this one, another moment, it sounds funny, but
• 21:15
  when I bought my PlayStation.
• 21:18
  And I started to play my first video game about cars, Gran Turismo.
• 21:22
  It was the first time that you spent hours and hours and
• 21:25
  hours playing with cars in 3D.
• 21:28
  My mind was working in a different speed when I, like,
• 21:31
  overclocking your mind, you know?
• 21:33
  My brain started to think about cars and cars and cars and I
• 21:37
  started to sketch, sketch, sketch.
• 21:39
  Somehow I started to say, I like this.
• 21:42
  I like to spend my free time sketching cars, thinking about cars.
• 21:46
  I didn't stop since that moment, but this is, let's say, how I keep thinking
• 21:52
  about cars, but I remember the feeling, you know, I will never forget the feeling
• 21:56
  when I saw the first time the DeLorean.
• 21:58
  At the end of Back to the Future, it's a, to be continued.
• 22:01
  The next day I went to the video club and said that I need money.
• 22:05
  I need to rent the second part because I need to see the DeLorean
• 22:09
  flying back to the theater.
• 22:10
  So nowadays we say in the future we will have this, but in the eighties, I think
• 22:15
  that they develop products that say you don't have to wait for the future.
• 22:19
  The future is here right now.
• 22:21
  You know the Deloria is here and I'm 40 years old, but I can't imagine if you are
• 22:27
  20 years old in the eighties and you see a deloria, you will say, what is this?
• 22:33
  Nowadays?
• 22:34
  Maybe you are in a meeting with hypercar.
• 22:36
  You have a Bugatti sheet on Ferrari, LA Ferrari, McLaren, P one, Che 90
• 22:42
  team, and suddenly arrive at theorem.
• 22:44
  And everybody look at the DeLorean.
• 22:46
  And it's not because of the Back to the Future or any kind of movie.
• 22:50
  It's because of what's so unique design.
• 22:54
  You have to choose three cars in, like, the best cars anytime.
• 22:57
  One of these three will be the DeLorean, for sure.
• 23:00
  Your story, it fits so well.
• 23:03
  It's hard to believe that you found me and that your narrative fits.
• 23:07
  My goal is so well, it's overwhelming how I call, I call this car,
• 23:13
  the, the supercar built by love.
• 23:16
  But that's what it is.
• 23:18
  God, you know, the way that I found you.
• 23:21
  Yeah.
• 23:22
  One day, and I knew that you are Kat DeLorean.
• 23:26
  But I watched it, to be honest, this movie framing DeLorean.
• 23:29
  And I saw one interview.
• 23:32
  And I know that you and your brother, you are not really happy with the
• 23:35
  Lord and history and everything, you know, I never wanted to look for you
• 23:39
  to write you something or whatever.
• 23:41
  And one day in Instagram, I saw a picture of you and your father and I say, okay, I
• 23:48
  did this start thinking about your dad and trying to make a tribute to his legacy.
• 23:54
  I think, you know, if you are proud of your father, I have to tell you this.
• 23:58
  It was the way that I approach to you, like a God and angel.
• 24:02
  And I did this project because of.
• 24:04
  We are in love with the work that your father did, and it was
• 24:09
  something that suddenly happened.
• 24:12
  I didn't look for that, you know, I saw you in Instagram, your picture with your
• 24:16
  father, and I say, Okay, I will do this.
• 24:18
  It's amazing, too, because The way the timing of all of this has played
• 24:22
  out, so the other half of that story is my side, where I showed up to try
• 24:27
  and connect with the fans again, and connecting with them, hearing stories
• 24:31
  like yours over the years, the car now represents dreams, and now my dad's dream.
• 24:36
  Everybody's dream and it's so special to me and it's such a unique perspective
• 24:41
  that I believe I have because of who I am and everybody tells me their
• 24:46
  story when you showed up into my life, I was trying to find a web page.
• 24:52
  to have a space where we could all gather and collect these stories.
• 24:55
  I literally was yelling at somebody saying, do you think I can
• 24:59
  register just this one domain name?
• 25:01
  Because I really want this one.
• 25:04
  And then you messaged me saying, by the way, I just registered this domain that
• 25:08
  you're currently upset about not being able to get, would you like to have a
• 25:12
  website where people can submit stories about how much your father means to you?
• 25:17
  Just like everything else in this whole journey of building this
• 25:19
  car, I set out to do something and suddenly somebody says, hi!
• 25:24
  Here's a completed thing that you need.
• 25:27
  You know, we talked in the beginning about how to pronounce your name, and I
• 25:30
  am working on pronouncing it correctly.
• 25:32
  I'm not there yet.
• 25:32
  So I'm not going to say it.
• 25:34
  But to me, I have to call you Angel.
• 25:37
  And I'm sorry if that's an insult, because to me, that's where you came from.
• 25:41
  That's the only explanation is that my dad tapped you on the shoulder
• 25:44
  and said, Hey, go find my daughter.
• 25:47
  Otherwise, I'm crazy and imagining the whole thing and we're all
• 25:49
  being filmed and I'm on the Truman show or something, right?
• 25:53
  But I think that's a great segue back into something that Angel said earlier
• 25:57
  about your dad being a clever guy.
• 25:58
  And so I wanted to kind of transition us into the new car by talking
• 26:02
  about the old car 1 more time.
• 26:04
  Angel, your gut reaction to the DMC 12 is in line with a lot of other people's.
• 26:08
  It was one of these, wow moments.
• 26:10
  I always followed the evolution of Giugiaro's designs.
• 26:13
  Parents coming from Italy, everybody kind of knew what Il Maestro was up to.
• 26:17
  And when you look at the DeLorean, the joke used to be, well, there's
• 26:21
  the Scirocco and then there's the Audi coupe and then there's the DeLorean
• 26:25
  and it's like all medium and large.
• 26:27
  And so those designs all went together, but you look at the DeLorean and you go.
• 26:31
  Hyundai Pony 74 Concept Coupe and the Scirocco, which were both penned by Jujar.
• 26:37
  You put the two together, you get the DeLorean.
• 26:39
  But the trick, the clever part, to hone back in on that is the packaging.
• 26:43
  And when you look at a DeLorean, most people that
• 26:45
  don't know go, it's mid engine.
• 26:47
  Oh, a mid engine sports car.
• 26:49
  No, it's laid out like a 9 11 and to fit the motor and everything in
• 26:54
  there in that way in that design, it's almost an optical illusion.
• 26:59
  And that's what brings us to the new car is that when you look at it, you're
• 27:03
  never really sure where your eyes stops.
• 27:05
  It's constantly moving around the design of the car.
• 27:08
  And so that leads us into, I guess, questions about your design and how
• 27:13
  they may play out into the future.
• 27:15
  One of the top questions I got when we polled our audience was, is the new car
• 27:20
  going to be made out of stainless steel?
• 27:22
  I have to answer that question.
• 27:24
  So, I mean, Angel can try, but, but I actually know the answer.
• 27:28
  There's one of my five core values is what would John do?
• 27:31
  We have to do everything that we do, engineering, design, all of it has
• 27:35
  to be done with my father in mind and doing it the way he would get it done.
• 27:40
  While that is key and super important to what's happening right now,
• 27:44
  I also have to honor the fans.
• 27:47
  I have to honor and respect the people who have kept this car
• 27:51
  alive for all of these years.
• 27:53
  We have to honor the fans because without them, the movie aside,
• 27:58
  somebody cared for these cars.
• 28:00
  Somebody kept the culture alive and somebody gave me back this car enough
• 28:04
  to show up and have been to fight.
• 28:06
  So I have to honor what they want.
• 28:08
  What we are currently doing is we're looking into how we can make stainless
• 28:14
  steel, not just feasible, but also something that is a little bit more
• 28:19
  moderate, an updated way to add stainless steel to the car to actually address some
• 28:24
  of the issues that come along with it.
• 28:26
  Can we make it lighter?
• 28:27
  Can we make it easier to form?
• 28:29
  Can we find different ways to actually address some of the
• 28:32
  challenges in the stainless steel?
• 28:34
  What I tell people when they ask me if the car is going to be made of stainless
• 28:37
  steel, I tell them that's our goal.
• 28:40
  But part of what we're doing right now is telling the story of the challenges my
• 28:44
  father faced, different decisions about what engine he wanted, everything that
• 28:49
  he had in his mind, he had to examine which are the things that I have the
• 28:54
  funds to create custom tooling for, and which are the things that I have
• 28:58
  to go with what somebody already has.
• 29:00
  If the car doesn't get made in stainless this round, we plan on finding a way to
• 29:06
  make it stainless and we will continue to work to bring to the fans what they
• 29:11
  want, but we'll also tell you why it couldn't be, what the challenges are.
• 29:16
  Can we work together to come up with a way to actually make
• 29:19
  this a feasible option for you?
• 29:20
  Because I don't want this to be secret.
• 29:23
  I want this to be something that not just allows us to build a car and
• 29:27
  change the world and bring education.
• 29:29
  But it gives me a chance to tell my dad's story, the one that the fans
• 29:33
  asked for, and that a documentarian told me nobody's going to listen to
• 29:39
  because it's not sensational enough.
• 29:41
  So here we are, you're going to watch, and you're going to learn,
• 29:45
  and we're going to find out.
• 29:48
  No, I mean, I totally agree with that.
• 29:49
  There are many ways to make this possible.
• 29:52
  If this is more a production issue than design issue, you know, the good thing
• 29:57
  is nowadays there is a really huge evolution about how to produce all this
• 30:03
  and to make it lighter, maybe you can create that kind of composite material.
• 30:07
  It could be a stainless steel.
• 30:09
  Mix it with carbon.
• 30:11
  No, no mixes, but you can create a layer of carbon fiber and then
• 30:14
  to put on the top a really, really thin layer of stainless steel.
• 30:18
  It will depends of the guys that will be in charge of this technology and I'm sure
• 30:24
  they will find a way to reproduce or to have the same appearance that the original
• 30:28
  car, but improving the result for sure.
• 30:32
  This is not a question that I can answer in the way that this is another
• 30:35
  field of the automotive engineering, but I'm sure that we will get
• 30:40
  something quite unique, I will say.
• 30:42
  And I know that could be a major sticking point, but it goes right
• 30:45
  back to the point about being clever.
• 30:46
  And so in talking with some fellow automotive historians and enthusiasts
• 30:50
  alike, one of the things that was brought up about the original construction of the
• 30:54
  DMC 12, because I don't think Giorgetto wanted to build it in stainless steel.
• 30:57
  It probably wasn't his plan.
• 30:58
  It was John's plan to do that.
• 31:00
  But you have to kind of look at sequence of events here.
• 31:03
  Your father was friends with Malcolm Bricklin.
• 31:05
  Bricklin was experimenting with fiberglass and other composite plastic
• 31:09
  materials to build his vehicle.
• 31:11
  And we saw how that turned out.
• 31:12
  I'm speculating.
• 31:13
  Your dad probably said, we're not going that way, but I want
• 31:16
  to do something different.
• 31:17
  And stainless was the option because aluminum was too
• 31:19
  expensive to handle and deal with.
• 31:21
  So now if we think about that, it's kind of this cutting edge out of box,
• 31:25
  quote unquote, clever thinking the DeLorean next generation vehicle.
• 31:28
  Needs to be some sort of cutting edge space age technology that is
• 31:33
  yet to be produced on a vehicle.
• 31:35
  So something beyond carbon fiber.
• 31:36
  And to your point, Angel, that combination giving us that retro feel
• 31:41
  of a layer of stainless, but something else much more modern underneath.
• 31:46
  Being able to bridge that gap from the old to the new.
• 31:48
  And so I think that would be my major rebuttal to everybody that's, you
• 31:52
  know, banging their fists on the table saying it must be made of stainless
• 31:55
  steel is to kind of think about it from the perspective of the time to
• 31:58
  say they were very forward thinking.
• 32:01
  So what's our forward thinking approach with the new car?
• 32:03
  That's a great point because that's exactly what I said to the
• 32:06
  team when we were talking about, there are a lot of challenges.
• 32:10
  In forming stainless steel, not the least of which are, most people can't do it.
• 32:14
  There's a lot of challenges, and one of my father's key factors was
• 32:18
  creating a car that was inexpensive to purchase and inexpensive to own.
• 32:22
  And so what I said to my team was, I said, A lot of things
• 32:26
  have changed since back then.
• 32:28
  What was the positive intent?
• 32:30
  that my father had by creating it out of stainless.
• 32:33
  Part of it was style, but a lot of it was a couple of things.
• 32:37
  And I don't know that I've seen these things discussed a whole lot.
• 32:40
  I know it may be out there, but these are definitely things
• 32:43
  my father talked to me about.
• 32:45
  One of the ideas of the body panels was not just that it's easy to buff
• 32:49
  out and you don't have to paint after an accident, but it kept the cost
• 32:53
  down of replacing panels because.
• 32:55
  He could remanufacture them for you at a low cost because the doors could
• 32:59
  come back and be melted back down.
• 33:02
  And then that allowed him to provide the parts for you at a low
• 33:05
  cost for low cost of maintenance over the lifetime of the car.
• 33:08
  So when we look at carbon fiber, what I said to my carbon fiber guy was.
• 33:13
  Unless you can tell me how to keep it out of a landfill.
• 33:16
  It's not going on my car.
• 33:17
  And so he actually has a carbon fiber recycling process that he's working on.
• 33:23
  And we're going to work to try and help him get a patent on
• 33:25
  it and improve it a little bit.
• 33:26
  But that was my first thing I said, the positive intent is that It has to perform
• 33:33
  what my father wanted not just be lighter, not just be what everybody else wants.
• 33:37
  He was a unique thinker.
• 33:38
  So that's how we're coming to try and address it.
• 33:41
  And we have some amazing people coming up with really interesting solutions,
• 33:45
  such as the one that Angel has described.
• 33:48
  We don't know if it's possible, but we sure are going to keep
• 33:51
  trying until we find a way.
• 33:53
  So the only way it's not going to be In some form have some stainless option for
• 33:58
  it is because we could not make it cost viable, but we will find a pathway to
• 34:05
  that and share that with the public and say, we couldn't do it because this, but
• 34:10
  here's what we could do to get there.
• 34:12
  To try and allow even the public some control in whether
• 34:15
  or not the car gets made.
• 34:16
  It's also in the best interest of the consumer too, because if you think
• 34:19
  about it in terms of the eighties, when the car companies were struggling,
• 34:22
  it was also a cost cutting measure.
• 34:24
  I mean, your dad was probably going, if I don't have to paint
• 34:26
  it, that's thousands of dollars.
• 34:28
  I'm saving per car, not having to figure out what colors we're going to use and
• 34:32
  how to apply them and then clear coat and all this, the stainless is ready to go.
• 34:36
  I mean, when was the last time?
• 34:37
  You either wax buffed or painted your kitchen sink.
• 34:40
  Never.
• 34:41
  Right.
• 34:41
  It's always looks the same from the day you put it into the day you got rid of it.
• 34:45
  So the stainless is a really great option for that.
• 34:48
  It's easy to clean, easy to maintain, and it doesn't rust.
• 34:51
  It's funny you say that because one of my guys wanted to put a ceramic
• 34:55
  clear coat on the stainless and I said, I'm not getting a stainless car.
• 34:58
  That's going to force me to buy more wax.
• 35:00
  Thank you.
• 35:00
  No, a hundred percent.
• 35:01
  Yeah.
• 35:02
  Yeah, no.
• 35:03
  That leads to the next big design question.
• 35:05
  Probably at the top of many of the more technical petrolheads minds, is
• 35:10
  the new car going to be mid engine or rear engine like the original?
• 35:14
  Before he answers that I've been telling people that my team is supposed to hold
• 35:18
  me to the standard, what would John do?
• 35:20
  And in this particular case, I made a stupid remark to
• 35:24
  my team and they all went.
• 35:26
  Absolutely not.
• 35:27
  You cannot, because we were talking about the front end of the car and I
• 35:29
  went, what if we did make it front end?
• 35:31
  The words came out of my mouth and then I went, oh gosh, but they
• 35:35
  immediately all pounced and said, no, your father would not do that.
• 35:39
  So I'll let Angel answer what the car's going to be after my faux pas.
• 35:43
  What I did is to prepare a package.
• 35:46
  Whatever the option that you will take could fit.
• 35:49
  So I think that a mid engine will fit a bit better with the idea of to exchange
• 35:55
  the powertrain in the way that, for example, if you go for electric, you
• 35:59
  just need to put the battery pack in the room that you dedicated to the engine.
• 36:05
  You know, the battery pack is really heavy.
• 36:07
  So it should be closer to the center.
• 36:09
  You know, if you put the battery back, what is the engine?
• 36:12
  The engine is behind the rear axle.
• 36:14
  Not really good weight relation.
• 36:16
  To design the car, leaving a space for both options.
• 36:20
  It could be an electric car.
• 36:22
  In that way, you don't need the space for the motors because you located the motors.
• 36:27
  In the door axle and they are quite a small, this is not an issue.
• 36:31
  They issue with electric is where to locate the battery.
• 36:35
  If I located behind the driver, this is the best place because at the end is
• 36:39
  the natural way where it would be the engine, whatever would be the option.
• 36:42
  It will work.
• 36:43
  Her thing is working on that.
• 36:45
  Um, what I have to say from my side is.
• 36:47
  that whatever will be the option, I will be ready to
• 36:50
  adapt the design to any option.
• 36:52
  But I'm thinking that the best way for me is to do something that
• 36:56
  could work with any powertrain.
• 36:59
  From the same point of view, it's not quite complex to say, we're going to
• 37:03
  locate the engine or the battery pack.
• 37:05
  It's more important for me to know where will be the occupants, the
• 37:09
  driver, to see where is the H point, the vision angles and everything.
• 37:13
  This is what I really care about to design a car because I have to
• 37:17
  do something or the starting point of a car is to set the A pillar.
• 37:22
  This is quite important.
• 37:23
  Where is the A pillar of the car, the door opening, and then you know, that
• 37:27
  should be an engine in the front and the rear, you know, and I know that it
• 37:30
  could affect the proportion of the car.
• 37:32
  But in our case, battery pack and engine will be in the same position.
• 37:36
  So it's not a big issue.
• 37:38
  It's not going to affect anything.
• 37:39
  If you go for electric, if you go for hybrid, if we go for internal combustion.
• 37:44
  Is it going to be a two seat sports coupe or will it be a four seater?
• 37:48
  Two seats.
• 37:49
  I've been working in cars, two plus two, four seats with a coupe roofline.
• 37:55
  And at the end, the person in 9 11, there is this place for kids on the rear, but
• 37:59
  who put their kids into a 9 11, you know?
• 38:02
  My best friend's mother when I was a child did, and I never forgave her for it.
• 38:07
  So yes.
• 38:09
  Yeah.
• 38:10
  I mean, I would like to have a 9 11 and to put my kids there, you know,
• 38:14
  but some people, to put this in this two plus two, this space to put some
• 38:20
  luggage in our case, I am planning to have a proper place for luggage.
• 38:24
  I rather prefer to have two seats.
• 38:26
  And after that, to use that space for battery pack for the engine, whatever.
• 38:31
  And to put the luggage into a proper place, you know, and that's good because
• 38:36
  if we go back to the original car and the original intent, it was sold and
• 38:40
  marketed as a sports car, a sports coupe.
• 38:43
  So I know that a lot of the purists have pushed back and said, well, we
• 38:47
  really love the little compartment behind the driver and passenger
• 38:50
  seats and yada, yada, and all this.
• 38:52
  I get that that's because the engines way back under the rear end of the car.
• 38:56
  So you have all that extra space, but when you go mid engine, suddenly the
• 38:59
  firewall is right there behind the seats.
• 39:01
  And that's the way of the world.
• 39:02
  Whether you're looking at mid engine Porsches, Ferraris,
• 39:05
  Lotuses, and everything in between.
• 39:07
  But I think what's more important to understand here is if you're
• 39:09
  going to come in and make a big bang and play in the sports car space,
• 39:14
  the winning formula is going to be mid engine and you're 100 percent
• 39:17
  right about the weight distribution.
• 39:18
  If you want the DeLorean next gen to be a performer, people aren't
• 39:22
  going, well, it doesn't do this and it doesn't handle right.
• 39:25
  You want them to come out of and go.
• 39:26
  The driving experience was 11 out of 10.
• 39:29
  Fantastic handles like a dream and go from there because let's face
• 39:34
  it, there's only one car left in the planet that is still produced with the
• 39:38
  motor hanging out over the back end.
• 39:41
  And that's the 911.
• 39:42
  And if you watch its evolution, it continues to get longer and
• 39:46
  the motor somehow gets closer to the driver every year.
• 39:50
  Even there, the Germans are like, just keep refining this
• 39:53
  idea until it gets better.
• 39:54
  So I'm glad that you I'm a fan of that idea.
• 39:57
  I think that's going to make the car that much better.
• 40:00
  It's going to put it in the hands of enthusiast drivers that want to show
• 40:04
  up to their next track day and go check out what my DeLorean can do against your
• 40:09
  Porsche, your Corvette, or your Ferrari.
• 40:11
  That's actually a really good point.
• 40:12
  And my father, he drove an NSX because of the handling.
• 40:17
  I could outdrive a Dodge Viper in his six cylinder NSX because it
• 40:22
  handled like nothing else on the road.
• 40:24
  That car is still to this day, one of the most amazing and fun
• 40:28
  cars I've ever driven in my life.
• 40:29
  And so this car.
• 40:31
  Has to be fun to drive.
• 40:33
  It can't just be pretty.
• 40:34
  It can't just be safe.
• 40:36
  It can't just be standing with steel has to be fun to drive because that is being
• 40:41
  forgotten today by all of these numbers.
• 40:44
  These statistics.
• 40:45
  It's great that it goes really fast 0 to 60.
• 40:49
  Some of them go really fast 0 to 60 and not even in a straight line very well.
• 40:53
  And that's What's the point?
• 40:56
  So it's really important that this not just handle well
• 40:59
  and not just be beautiful.
• 41:00
  It has to be fun to drive.
• 41:02
  So no pressure.
• 41:03
  Angel.
• 41:04
  I like the fact that you brought up the NSX because that always had
• 41:07
  Ayrton Senna stamp of approval.
• 41:09
  So that speaks volumes about that car.
• 41:11
  It's been a couple of years since your initial design ideas and the sketches
• 41:15
  and the renderings that we've seen.
• 41:17
  Is there anything about the car?
• 41:19
  That you see changing at this point.
• 41:21
  And let's not talk about power plants and layouts so much as is
• 41:25
  there anything that you've gone back and said, I want to do differently.
• 41:28
  I want to do this now that I know more than I did then any other
• 41:32
  accommodations that you're making or anything that you're thinking about?
• 41:35
  Uh, yes, I need to adapt a bit.
• 41:38
  The proportions, the roof line is a bit too low.
• 41:42
  So I need to redesign with a shorter front bumper with a shorter frontier
• 41:47
  with Different roofline, but I will say that I will keep more or less the
• 41:53
  original design as it is, you know, I will implement new solutions that I
• 41:59
  won't say yet because of it should be a surprise to me now we've got, when we are
• 42:06
  doing this new model, I have to restart the car for the beginning, I have to
• 42:11
  rebuild the whole model, you know, and This process, I will use it to improve
• 42:16
  the model as a setting proportions, but also the surface treatment and also to
• 42:22
  define a bit more some elements that I didn't because of this model was done.
• 42:28
  I will say really quick.
• 42:29
  In my free time and just for visualization to make some renders and that's all
• 42:33
  now that it's going to be real and it's going to be a proper car, you
• 42:38
  know, should be done in a professional way, getting much more about details.
• 42:43
  But one thing that I have to say from experience about this car, when
• 42:48
  you see a car in the pictures, maybe for you, it doesn't look too good.
• 42:52
  And you see in real life, I say, okay, now it looks better than in the picture.
• 42:55
  Always looks better in real life than in the picture.
• 42:58
  Always.
• 42:59
  Always.
• 43:00
  So when you see a car that you like on a computer screen, on a magazine,
• 43:04
  whatever, and you see the car on the street, you will be surprised.
• 43:10
  You will look.
• 43:11
  I like when people say, I like the car.
• 43:13
  When they see the car in the picture, because I'm sure that when they will see
• 43:17
  this model in production on the streets with the new treatment, with the new
• 43:22
  proportions, which everything how should be done in the personal way for a real
• 43:26
  car, people will say, wow, because I have the same feeling with the remark.
• 43:31
  Never.
• 43:32
  We did this car, the whole car in the screen, because we didn't
• 43:35
  have in that time, the money to bake a one to one model.
• 43:38
  To double check the design, you know, something that you do in any place.
• 43:42
  But in that time, Rimac, it was a kind of a startup company
• 43:46
  and we didn't have the money.
• 43:47
  We wasn't sure about the car.
• 43:48
  We like it on the screen, but we wasn't sure.
• 43:50
  And my boss told me, if you like the car on the screen,
• 43:53
  you will see it in real life.
• 43:55
  And I remember when I saw the first prototype of the Rimac Concept 2.
• 43:59
  Like, wow.
• 44:00
  So you see the car on the screen and you don't really appreciate the proportion.
• 44:05
  This car is as wider as LaFerrari.
• 44:08
  The height is the same that LaFerrari.
• 44:11
  The proportion of this car is quite amazing.
• 44:13
  When you will see this light bar.
• 44:15
  Running through the whole car, lighting this LED with the stainless steel, you
• 44:21
  know, this combination of material of carbon fiber, stainless steel, LEDs,
• 44:26
  these proportions, unique elements, like at the door opening, the trunk
• 44:29
  glass with these plates, the rims, the feeling that I want to, to awake
• 44:36
  in people is the same feeling that when people saw the original DeLorean.
• 44:40
  I have to create different elements, different, let's say,
• 44:43
  tricks to feel the feeling.
• 44:45
  But I think that people will be shocked when they will see this car in real life.
• 44:50
  It's funny that you put it that way because the more I've looked
• 44:54
  at this car over the last couple of years, the word that has always come
• 44:57
  to my mind is the word timeless.
• 45:00
  And there's very few cars that that adjective can be associated with.
• 45:04
  If you go back super early, 250 series, Ferraris, E type Jags,
• 45:08
  things like that, the classics.
• 45:09
  But in the modern times, we're talking about The FD third gen RX seven,
• 45:14
  the mark four Supra, the Audi R8.
• 45:17
  When you look at those cars, you can't tell what year they're from.
• 45:20
  And that's true of this design being a couple of years old already.
• 45:24
  You look at it and you go, what year is this from?
• 45:26
  And 20 years from now, we're still going to go.
• 45:28
  What year is this from?
• 45:29
  Because it looks so modern and so different, and it doesn't take the
• 45:33
  design cues like you would see coming out of Lamborghini, where everything has
• 45:38
  looked like the Aventador for the last 18 years, and it's just a variation thereof.
• 45:42
  There's iconic cars like the 911.
• 45:44
  The 911 has to look like a 911.
• 45:46
  The minute they change it, It won't be a 911 anymore, but this, you look at
• 45:50
  it and again, it's hard for your eye to stop because of the way it flows.
• 45:55
  And so the word I want to put with it, ironically enough, is timeless.
• 45:59
  It's hard sometimes to don't follow the trends on automotive design.
• 46:03
  But if you want to make something different, you have to, but I
• 46:07
  didn't create anything new in the way that I usually follow the
• 46:12
  topology of the original DeLorean.
• 46:13
  This is really easy.
• 46:14
  If you make a cross section of the car, you know, through the
• 46:17
  door, you see that this section.
• 46:19
  From the roof to the side, plus runs down in one line and then change the
• 46:24
  direction in the opposite direction.
• 46:26
  You know, the front and the rear of the delo is different,
• 46:28
  but the topology is the same.
• 46:30
  So you just need to implement this into a new model.
• 46:34
  Nowadays, for example, it's, I'll just say, it's hard to find
• 46:37
  cars like they, they did it.
• 46:39
  For example, I think about the the first Audi Dtt.
• 46:43
  It could be a good.
• 46:44
  Interpretation about what is a timeless design.
• 46:47
  So think about this car.
• 46:48
  You say, okay, this is, it looks quite simple, but no.
• 46:52
  All the set line runs with the design lines, you know, from our rear are
• 46:58
  different, but has the same topology.
• 47:00
  You know, maybe before you start to sketching, you have to think a lot.
• 47:04
  If you want to make something like this, in this case, I tell you
• 47:08
  it was easy because I only had to look to the previous model.
• 47:12
  And to identify why this model is so unique and timeless, and then not to
• 47:17
  copy, but you need to transfer these elements into nowadays, and then you
• 47:22
  have to add some new elements, of course, because if not, we are doing
• 47:26
  the same thing that they did it 40 years ago, but with a model training.
• 47:29
  And this is not what I wanted to do.
• 47:31
  I want to do something that reminds you to the original DeLorean, also
• 47:34
  that looks futuristic and in 10 years will still, will look good.
• 47:40
  Timeless is a great way to go with this car.
• 47:42
  Cause I remember looking at some of the new cars and then I saw DeLorean
• 47:47
  next to them not too long ago.
• 47:49
  And I went, wow, that car just stood the test of time and it looks.
• 47:54
  It's very, very modern.
• 47:55
  But to your point, Eric, about the flow of the car.
• 47:59
  So I went to art school and one of the first things you learn in
• 48:02
  design one is how to create art.
• 48:06
  I use photography a lot as an example when I talk about this because you
• 48:09
  can take a picture this way and you just frame it a little bit different
• 48:12
  and it's a whole other photograph.
• 48:14
  The principles of design say to look at how we experience life.
• 48:19
  One of it is how you read a picture.
• 48:21
  In some cultures, you have to consider they read backwards.
• 48:24
  So which way do your eyes naturally flow through things?
• 48:27
  And then how do you create a design that makes your eye
• 48:30
  continue, like you described?
• 48:32
  So that is the ultimate goal of any design at the fundamental foundation
• 48:37
  of proper design is to get your eye to continue to flow through the whole thing.
• 48:41
  And I think that element, I couldn't put my finger on it.
• 48:45
  I think you just described the quoi.
• 48:47
  I think that's it.
• 48:48
  When I first saw this car and the renderings of it,
• 48:51
  my breath was taken away.
• 48:53
  No matter how many times I saw the video, it still happens,
• 48:55
  but it was that visceral react.
• 48:58
  I had that reaction.
• 48:59
  I had the reaction to this car that everybody has to seeing the first DMC 12.
• 49:05
  It's stunningly beautiful and simplistic in how gorgeous it is.
• 49:09
  I will tell you one trick that I use it.
• 49:11
  And also I will show you the way of thinking of a designer.
• 49:15
  If you take the original model, there is one element that
• 49:18
  for me looks too old for me.
• 49:20
  This black stripe running through the whole car, because it's a
• 49:24
  plastic that is not glossy and looks like something from the 80s.
• 49:28
  So when you say, okay, I need to transfer this.
• 49:31
  Element into the, the new car, but this looks quite old school for me.
• 49:36
  What should I do?
• 49:37
  Should I delete this element or what to do?
• 49:40
  What I did is like, okay, this element should be in the new car.
• 49:45
  And for me, it looks too old.
• 49:46
  So I will do that.
• 49:47
  This element, it will be.
• 49:49
  The most sophisticated high tech thing in the car.
• 49:53
  So the car will be stainless steel, whatever, but this black stripe around
• 49:56
  the car, it will be a full LED that it will be the lights of the car.
• 50:01
  Also, I will implement into this black stripe.
• 50:04
  The cameras, the sensors, the lighters, whatever, you know, all
• 50:08
  the high technology distribute around the car in this black stripe.
• 50:12
  This is what I say that this is the clever way of thinking that John
• 50:16
  DeLorean will try to put into this model.
• 50:19
  So you keep it and you transform this element into something futuristic.
• 50:24
  At the end, this is something unique.
• 50:26
  My idea of the front lights running, not only on the front area of the front
• 50:30
  bumper that Also turned into the side, you know, this is something I will say
• 50:35
  new, many brands they are doing right now and the front on the rear too.
• 50:39
  This light bar that is running also the side, maybe it's not legal in Europe to
• 50:44
  turn this on when you're running, but when the car is parked and you need to open
• 50:49
  and close the car or whatever, you can activate it and It could be a nice welcome
• 50:56
  opening show, you know, for example.
• 50:58
  I actually have a plan for how to argue that it should be allowed in other
• 51:02
  circumstances other than just parks.
• 51:04
  I definitely think it will not pass regulations to have it on all the time.
• 51:09
  Because then that will result in everybody putting LEDs everywhere.
• 51:13
  However, as I see it, it's very helpful for side view.
• 51:17
  If you're parking or you're trying to, you know, move your car around, you
• 51:20
  can actually see at night what's around your car, if you can use it for very
• 51:25
  slow backing up and things like that.
• 51:27
  So it's such a cool feature that was.
• 51:30
  It was a style feature, but it has these implications that I keep thinking about.
• 51:34
  Well, it would be very useful for me not to hit the squirrel
• 51:38
  next to my, I don't know.
• 51:39
  I don't know.
• 51:40
  With goldwing doors, you just open them and look out the side.
• 51:43
  You can see all everything you need to, right?
• 51:45
  Yeah.
• 51:46
  So there's one fan who's really particular about hating that people
• 51:50
  drive row with their doors open and they say, could you please make it
• 51:54
  so the door automatically closes if you start moving while it's open?
• 51:56
  And I said, I'm pretty sure that will get me stuffed in a trunk and left somewhere
• 52:03
  because everybody will be mad that they can't drive her out with their door open.
• 52:07
  But we'll look into it for you because it's a safety feature.
• 52:10
  One of the things that John had in mind for the original DMC 12, it was
• 52:15
  really important, was a target weight.
• 52:17
  A lot of designers go after a target weight because they want the car
• 52:20
  to perform at a certain level.
• 52:21
  Now, because of different things in the motor and packaging and this Now the
• 52:25
  DeLorean was slightly overweight from its original target, which I would believe is
• 52:28
  around 2, 400 pounds is what I've read.
• 52:31
  So what's the proposed weight of the new design?
• 52:34
  You, you mentioned that dimensionally it's similar to LaFerrari,
• 52:37
  but what are you thinking?
• 52:38
  Weight wise, where will it clock in?
• 52:40
  Nowadays, the weight is the tricky area in any car.
• 52:45
  Most of them, they don't release the official weight.
• 52:48
  But it should be something between in kilos or let's say in tons, 1.
• 52:53
  7, 1.
• 52:56
  6, 1.
• 52:57
  8.
• 52:57
  It's impossible to make something lighter, to be honest.
• 53:01
  Even LaFerrari's with the driver and everything is 1.
• 53:04
  6.
• 53:05
  So about 3, 200 pounds.
• 53:06
  Yes, because for example LaFerrari, they have, it's a kind of hybrid, you
• 53:10
  know, with the girls and everything.
• 53:13
  All the sports cars and hypercars, they will be kind of hybrid,
• 53:17
  you know, and they have electric motors, they have battery pack, plus
• 53:21
  the engine that is a big engine.
• 53:23
  Even when you create a carbon fiber monocoque or they steer in carbon fiber,
• 53:29
  the weight of the car is impossible.
• 53:31
  I think you might be able to reduce 1.
• 53:33
  6 because of.
• 53:34
  Also, the interior should be quite comfy.
• 53:37
  You need a lot of elements for comfort, AC, security reasons, you
• 53:41
  know, you need the crash screen on the front, the structure on the rear,
• 53:45
  coolers, fans, a lot of components.
• 53:48
  So the only car maybe nowadays that It's quite light for the standard.
• 53:53
  She's the McLaren.
• 53:54
  They say that's the only one that is lighter than the others.
• 53:58
  One on it goes.
• 54:00
  A lot of compromise for the occupants regarding the comfort.
• 54:05
  You have a really good performance on the track, but not for daily drive.
• 54:09
  So the weight target is quite important.
• 54:12
  It should be optimized, but at the end, should be something between 1.
• 54:16
  6, 1.
• 54:17
  8 tons, more or less.
• 54:19
  If you go full EV, we get it.
• 54:21
  But if you go petrol powered or petrol hybrid, who's going to supply the motor?
• 54:26
  What are you thinking?
• 54:27
  And what size would it be?
• 54:28
  Is it some sort of turbocharged, smaller engine?
• 54:30
  Are we going V8?
• 54:31
  What are we talking?
• 54:32
  True to my father.
• 54:34
  I can't decide on the correct powertrain without a little bit
• 54:39
  more experience and experimentation.
• 54:42
  So we actually have three currently in development, and we have not just ice,
• 54:47
  but hydrogen, and then also our electric.
• 54:50
  And when it came to the A turtle combustion engine.
• 54:55
  I have a smoky eunuch.
• 54:57
  You know, I don't want to say that because I don't want to pull the eunuchs
• 55:00
  into this without talking to them.
• 55:02
  But I feel like that's what I have.
• 55:04
  I call him Smokey Wolf because he also has been able to fix
• 55:08
  everything that's come up so far.
• 55:11
  But his name is Chris.
• 55:13
  And you know what?
• 55:13
  I'm gonna murder his last name because it might be Italian.
• 55:16
  I don't know.
• 55:17
  I want to say Chinchis.
• 55:18
  Because it's CI and CIS, but he builds top fuel dragsters.
• 55:23
  I said to him, I made the comment, we should figure out
• 55:26
  how to make a smoky engine.
• 55:27
  I want a lot more horsepower and to get killer gas mileage.
• 55:31
  His stated goal is a thousand horsepower and 80 miles to the gallon.
• 55:35
  How close we get to that.
• 55:37
  I don't know.
• 55:37
  I also told him, please don't kill me.
• 55:39
  So maybe a little bit more weight in the car would be good.
• 55:43
  He's a little insane, and I love it.
• 55:45
  But that's what we're doing.
• 55:47
  And he's not just working on one option.
• 55:48
  He's examining multiple different ways in which we can meet the challenge of
• 55:52
  more horsepower, better gas mileage.
• 55:55
  And one of the key components that I've asked him to try and take a look
• 55:59
  at is can we design something that will do this that we can offer to.
• 56:03
  Existing ice cars because it's not just about building a new
• 56:08
  car that people could buy.
• 56:09
  I love my cars.
• 56:11
  I'd like to save them.
• 56:12
  I would like to find a way to make them last as long as possible.
• 56:15
  I would also like to find a way to maybe offset them killing the
• 56:19
  planet, all of these other things so that everybody's happy if I can.
• 56:23
  then amazing.
• 56:24
  If I can't, then at least I try, but we are definitely going to have something
• 56:29
  that is John DeLorean worthy when it comes to the internal combustion engine, because
• 56:34
  I have a true genius working on it.
• 56:37
  For example, in Bugatti, the new Bugatti will be a hybrid.
• 56:40
  It will have a combustion engine plus motors, but the combustion
• 56:45
  engine, it will be a big one.
• 56:47
  So I think for the next 10 years, we will have combustion engine soon.
• 56:53
  I hope that they will find a way to fly these engines with synthetic
• 56:57
  petrol, you know, um, I hope that they could survive in this crazy thing.
• 57:02
  I think we will.
• 57:02
  I think it's just a matter of figuring a few things out.
• 57:05
  Everybody wants to move completely away from internal combustion engines.
• 57:09
  I actually believe that's the wrong answer.
• 57:11
  I believe the answer is finding a way to make them a viable solution.
• 57:15
  If for no other reason, then that's a lot of cars to put in the trash.
• 57:20
  So let's do something with them.
• 57:21
  But I think there are alternative viable options that we'll be
• 57:24
  able to find as we start to focus on availability of all things.
• 57:29
  I love electric cars.
• 57:30
  My dad loved electric cars.
• 57:32
  He really supported the electric car movement when it started, but
• 57:35
  we do have to examine the challenges that we have with electric cars.
• 57:39
  You have the battery problems with the sourcing of the materials and
• 57:43
  issues with the fires that happen.
• 57:45
  We're studying all of these technologies.
• 57:47
  So we may just come back around to some hybrid version of these two
• 57:53
  technologies is the answer that we need.
• 57:55
  That allows us to even run it without spilling more carbon into the air.
• 57:59
  Not only that, if you want the DeLorean next generation to take a seat in
• 58:03
  the motorsports world, you have to take a page from Acura and a lot of
• 58:06
  the other design houses out there where there are going hybrid because
• 58:09
  right now nobody has an all EV.
• 58:12
  Car to hint, hint on top of that.
• 58:14
  I'd love to see this design in some sort of livery.
• 58:17
  Maybe, maybe we'll go old school, little Alitalia or something like that.
• 58:20
  But, you know, it would be nice to see a DeLorean out on the racetrack alongside of
• 58:24
  the other cars in places like IMSA and WEC and world challenge and things like that.
• 58:29
  So who knows, right?
• 58:30
  The future is still unwritten, but speaking of the future, let's get
• 58:33
  away from the design a little bit.
• 58:34
  So Angel.
• 58:35
  How are you going to be involved in the build process of the new car?
• 58:39
  Are you going to be involved in everything that's happening in Detroit and so on?
• 58:43
  How do you see yourself involved in the team longer term?
• 58:46
  The process, the design processes is not so cool as it looks.
• 58:50
  It is actually, it's really hard.
• 58:52
  So my plan is to create the exterior, the interior, but at the same time, when
• 58:58
  I release all these parts to keep the process with the guys that will produce
• 59:02
  these parts, I'm sure that they will have.
• 59:05
  Issues when they will try to create the tooling and then they will come
• 59:10
  back to me and say, Hey, you need to change the blah, blah, blah, blah.
• 59:12
  This is a long process.
• 59:15
  Let's say that 30 percent is to design the car and 70 percent is to
• 59:19
  follow the design into production.
• 59:22
  I mean, my plan is to finish the design of the interior and interior and when I will
• 59:27
  release the parts for the guys, I will try to be close to them to solve any problems.
• 59:32
  There is a lot of work do because of there are many elements of
• 59:34
  the car that should be done.
• 59:36
  For example, the lights or some components like the mirror, the rims, speaking
• 59:41
  about interior, there are hundreds of parts, so there is a lot of work to do.
• 59:46
  I mean, this is my daily job.
• 59:47
  I've been working on several prototypes, show cars.
• 59:51
  production cars.
• 59:52
  For example, the Rima Carnevera, the show car, it was done only
• 59:56
  by two persons, my boss and me.
• 59:58
  You know, the show car that we presented in Geneva in 2018, exterior
• 1:00:02
  and interior was done by two persons.
• 1:00:04
  So for me, it's a challenge.
• 1:00:07
  to do the new DeLorean, but it's also my daily job.
• 1:00:11
  I think that this process, it could take 10 months maybe to finish
• 1:00:15
  everything exterior and interior and also to, to have the guys to
• 1:00:19
  do everything out of the tooling.
• 1:00:21
  And then we will see.
• 1:00:22
  I have a, let's say a fixed position in Bugatti.
• 1:00:25
  Um, after many years, I was able to work from home.
• 1:00:30
  And come back to my place and start a family before was impossible.
• 1:00:34
  You have to be in the design studio, um, that they feel
• 1:00:37
  confidence to send you work.
• 1:00:39
  And the next day they have back this work.
• 1:00:42
  And they can use it with the time and working really hard.
• 1:00:47
  I was able to work now from home.
• 1:00:49
  Um, for me, it works.
• 1:00:50
  Quite well, I don't see any problem working here in Spain and sending
• 1:00:54
  out my data to Detroit, whatever, and double check with the guys,
• 1:00:59
  the issues, solving the problems.
• 1:01:01
  So a bit complex to create a car and to produce a car.
• 1:01:05
  I'm speaking about parts, you know, exterior and interior,
• 1:01:07
  maybe not the chassis.
• 1:01:09
  There is a designer who must be in charge of this part because are visible.
• 1:01:13
  I'm sure that if I have the opportunity to start to finish this
• 1:01:17
  project, it will look very good.
• 1:01:19
  In the beginning, Jason and I said, well, why don't we make this part
• 1:01:22
  of the car out of carbon fiber?
• 1:01:24
  Cause we had somebody who could do it easily.
• 1:01:25
  And they said, well, Angel said black plastic.
• 1:01:27
  Who do we listen to?
• 1:01:28
  I said, let me be clear.
• 1:01:30
  Angel's my first dream that comes true with this company.
• 1:01:33
  This is his car.
• 1:01:34
  This is his dream.
• 1:01:35
  This is his tribute to my father.
• 1:01:37
  And so he gets to be involved the entire time in all of these
• 1:01:43
  decisions because it's his vision.
• 1:01:46
  Yes, I have input from my father's side and things like that, but it's important
• 1:01:51
  that this be his tribute to my father.
• 1:01:54
  So if I take away what he has, then it loses its JZD ness in my
• 1:02:01
  opinion, because that's what it is.
• 1:02:02
  That's why it's called the JZD.
• 1:02:04
  Interestingly enough, I did not know that my father's working
• 1:02:07
  name for his first model was JZD.
• 1:02:10
  So this was a really interesting coincidence.
• 1:02:13
  They changed names a couple of times.
• 1:02:14
  DSV, JZD, DMC.
• 1:02:16
  Yeah, exactly.
• 1:02:17
  So circling back to the beginning of our conversation really quick,
• 1:02:20
  you've already mentioned a couple of cars that you've worked on.
• 1:02:23
  So if people were interested in kind of associating you, Angel, with some
• 1:02:26
  of the vehicles that they've seen in the magazines or on the road or
• 1:02:28
  at their local Cars and Coffee or Concours event, what other vehicles
• 1:02:32
  have you worked on over the years that people may recognize immediately?
• 1:02:36
  I mean, the most famous for now and the one that is a trend nowadays is the Rimac.
• 1:02:41
  The official name is Rimac.
• 1:02:43
  I think it's the first electric hypercar.
• 1:02:47
  Now you can see many videos, reviews about the car.
• 1:02:51
  There is one very famous that, uh, was already published.
• 1:02:56
  The one from Tokyo where Richard Hammond drives it off a cliff.
• 1:02:59
  Yeah, no.
• 1:03:01
  Yeah.
• 1:03:01
  I mean, it was the original concept one.
• 1:03:03
  I also work it on that car, you know.
• 1:03:06
  But there is a new episode with the new top gear, you should take a look
• 1:03:10
  on this on that video because of the car is, it's amazing that there is a
• 1:03:14
  drag race with a Lamborghini Aventador SPUJ, the sport version of the
• 1:03:20
  Aventador, you know, you must watch it.
• 1:03:22
  And I've been working also.
• 1:03:25
  on normal cars, you know, sedans, but also motorcycles.
• 1:03:29
  For example, BMW Motorrad.
• 1:03:30
  I worked in a BMW RR.
• 1:03:34
  I don't know, it was a naked from the earliest 2010.
• 1:03:37
  The last one and a half year I'm working for Bugatti, but this is quite
• 1:03:42
  confidential what I'm doing right now.
• 1:03:44
  I'm in charge of really cool project that I hope that in this
• 1:03:49
  project, it will be real one day.
• 1:03:51
  You know, the design should be done three years before they release the model.
• 1:03:55
  So for example, now I can speak about the Remak because they presented
• 1:04:00
  officially, but I've been working on projects in 2019 that I can't speak
• 1:04:06
  yet because they didn't release it.
• 1:04:07
  I can't even mention the brand or the model that I've been working for because
• 1:04:11
  they didn't release the project yet.
• 1:04:14
  So this is something that sometimes is a problem because of in this
• 1:04:17
  time in Bugatti I've been working on cool projects, but probably until
• 1:04:21
  three, four years I can't put on my portfolio or in my CV these projects.
• 1:04:27
  I think our fans would be remiss if I didn't ask you at least one very
• 1:04:31
  crucial Pitstop question, which is As a car designer, in your opinion, what
• 1:04:37
  is the most beautiful car of all time?
• 1:04:39
  I would say it's impossible answer.
• 1:04:41
  Maybe was the sixties when it was a time that you can have the fastest
• 1:04:48
  car and the most beautiful car at the same time because they didn't
• 1:04:51
  care about aerodynamics, whatever.
• 1:04:54
  You know, nowadays, if you want to make supercar, hypercar, you have
• 1:04:57
  to care about safety, ergonomics, uh, aerodynamics at the end.
• 1:05:02
  You have a a lot of constraints.
• 1:05:03
  You want to make it beautiful and nice, but engineers say, no, you need to put
• 1:05:09
  our air intake here because of cooling.
• 1:05:12
  And you say, no, I don't want to put it there.
• 1:05:13
  I want, um, because I want to put it below because I don't want that
• 1:05:17
  you look at this, uh, I didn't take, they say no, but this is the best.
• 1:05:20
  Place to put the air intake and you have to find an agreement in this fight.
• 1:05:25
  At the end is a compromise between everything.
• 1:05:28
  But in the 60s, I think we have the most beautiful cars on the fastest.
• 1:05:33
  Think about the Miura, the GTO, the GT40.
• 1:05:37
  The cool thing is that the guy who had these cars, they could say,
• 1:05:41
  I have the fastest car and the most beautiful at the same time.
• 1:05:45
  Something that nowadays is quite impossible.
• 1:05:48
  I'm fascinated about the GT40 because it's a legend in racing.
• 1:05:52
  When I saw this car in my first time in real to see how low for me, it's a car
• 1:05:58
  that is like a 10 yards forward in time.
• 1:06:01
  I say 10, but I could say 20.
• 1:06:03
  If I think about a beautiful car that for me is also an icon, the Citroen DS, you
• 1:06:10
  know, incredible design for that time.
• 1:06:12
  And especially, I don't know how a mind in that time could do something like that.
• 1:06:17
  For me, it was amazing.
• 1:06:19
  That was my thought when you asked him what the most beautiful was, is how do
• 1:06:22
  you choose because you can find different beauty in every car for different reasons.
• 1:06:27
  And it's like you asked that card.
• 1:06:29
  I start running through all the cars in my head.
• 1:06:32
  Usually the reaction is based upon where your loyalties lie with
• 1:06:36
  manufacturers, but also it's usually the car that got you excited as a kid.
• 1:06:41
  So you'll hear people say 365 GT4 Daytona.
• 1:06:44
  E type Jag, Ferrari 250 Testarossa, the 911, the 356, because those are the
• 1:06:49
  cars that inspired them as petrolheads.
• 1:06:50
  That's why we always ask that question.
• 1:06:52
  For example, Ferrari, nowadays, I don't like the Ferrari Daytona, to be honest.
• 1:06:56
  I don't think that this car in 10 years will look.
• 1:07:00
  But the time is a good thing to see how a model is good or not, you know.
• 1:07:06
  The DeLorean Legacy Project is dedicated to extolling the
• 1:07:09
  positive impact of John Z.
• 1:07:10
  DeLorean and his creations on the world.
• 1:07:13
  They continue to this day through his fans and the owners of the cars.
• 1:07:17
  The DeLorean Legacy Project's mission is to change the world one person at a time.
• 1:07:21
  To learn more about that effort, you can log on to www.deloreanlegacy.org
• 1:07:26
  or follow them on social at DeLorean Legacy on Twitter.
• 1:07:29
  If you want to catch up with Kat, you can follow her on social at
• 1:07:32
  ka DeLorean on Instagram and at Catherine dot DeLorean on Facebook.
• 1:07:37
  And if you're excited about the new.
• 1:07:39
  Next generation of DeLorean, you can check out the vehicle that has been
• 1:07:43
  inspired by Angel's design at www.
• 1:07:47
  dngmotors.
• 1:07:47
  com or follow the car's progress at dng.
• 1:07:52
  motors on Instagram and Facebook or at dngmotors on Twitter.
• 1:07:57
  That being said, Angel, I can't thank you enough for coming on the show and
• 1:08:01
  telling us about what it's like being a modern car designer and bringing to life
• 1:08:06
  something that is going to be timeless.
• 1:08:09
  A study of the master's work brought into the modern times for all of us to enjoy.
• 1:08:14
  And like you said, closing that chapter on history and bringing everybody into this.
• 1:08:19
  Next generation of what it means to be a DeLorean owner and enthusiast.
• 1:08:24
  And to Kat, I can't thank you enough as well for coming back to break fix.
• 1:08:27
  And we look forward to seeing you again soon.
• 1:08:29
  I would like to thank my entire team that's working right now.
• 1:08:32
  They are all working very hard and they're doing so with incredible
• 1:08:37
  passion for this project.
• 1:08:39
  They're all staying up very late at night.
• 1:08:41
  Can't go to sleep because they're excited about what
• 1:08:43
  they're inventing for all of you.
• 1:08:44
  And so any success that we have.
• 1:08:47
  A lot of people are going to say yay Kat and it's yay team.
• 1:08:50
  I like to tell people if this all goes wrong you can blame me but if it
• 1:08:53
  all goes right you get to blame them.
• 1:08:55
  Thank you for this interview, thank you to Kat because for me it's amazing that
• 1:09:00
  I'm working in this kind of project.
• 1:09:02
  I can't believe that I'm helping to keep John DeLorean's dream.
• 1:09:08
  And I feel really proud, really, really proud is not to
• 1:09:11
  work for reenact for Bugatti.
• 1:09:14
  This is nice to say for some people, this is cool.
• 1:09:18
  But for me, what really made me happy, this kind of projects and sensing
• 1:09:24
  that they started as a exercise of free time and to try to make a
• 1:09:28
  tribute to a person who did it really well in the automotive world became.
• 1:09:34
  This This is a really amazing history.
• 1:09:38
  I will try to do my best to continue this history into the
• 1:09:42
  history that should be a nice one.
• 1:09:45
  And this is the only thing that I'm looking for to make
• 1:09:48
  something for a new generation.
• 1:09:50
  Also, that you can use it as an inspiration to see that if you
• 1:09:55
  follow your dreams, and if you work hard, everything could be possible.
• 1:10:00
  And thank you to Kat and thank you to everyone who is involved in the history.
• 1:10:04
  I'm sure that when we will present the car and people will look at the
• 1:10:09
  real car, it will open many doors.
• 1:10:12
  I'm dreaming every night with that day when we will present the car.
• 1:10:21
  If you like what you've heard and want to learn more about GTM,
• 1:10:24
  be sure to check us out on www.
• 1:10:27
  gtmotorsports.
• 1:10:27
  org.
• 1:10:28
  You can also find us on Instagram Also, if you want to get involved or have
• 1:10:34
  suggestions for future shows, you can call or text us at 202 630 1770, or send us
• 1:10:41
  an email at crewchief at gtmotorsports.
• 1:10:43
  org.
• 1:10:44
  We'd love to hear from you.
• 1:10:46
  Hey everybody, Crew Chief Eric here.
• 1:10:48
  We really hope you enjoyed this episode of Break Fix, and we wanted
• 1:10:51
  to remind you that GTM remains a no annual fees organization.
• 1:10:56
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• 1:10:59
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• 1:11:02
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• 1:11:34
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