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RIDE-ing along with Chad Oppenheim and Matt Stone · That Car Show

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I will say, Ryan, I this day when I watched that film and
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that 928 goes into, you know, Lake, MI, my heart stops, you
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know? This week on That Car Show, we
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enter the inaugural meeting of That Car Show book Club, where
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we have Chad and Matt, editors of Ride the Most Iconic Wheels
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of the Silver Screen. And we talk about the book,
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which seems to be in a labor of love.
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Everything from Chitty Chitty Bang Bang all the way through to
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the DeLorean from Back to the Future.
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Lots of great Car Talk, lots of great movie talk and just hang
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in with some cool guys. TuneIn, listen and enjoy.
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It's that car show. It's that car show, and it's Dan
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and me tonight talking about a pretty impressive new car book
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that's out. It's called Ride the Most Iconic
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wheels of the Silver Screen, and that's exactly what it is.
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It's 30 four of the most memorable cars ever captured on
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film and I think 1 motorcycle and an exceptionally well
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executed coffee table book. And we've got two of the books 3
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editors here with us today, Chad Oppenheim and Matt Stone.
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Chad is an internationally renowned architect and speaker
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with studios in Miami and Basil, Matt's a journalist and
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broadcaster. He's also the former editor of
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Motor Trend Classic magazine. He's also a judge at both Pebble
1:22
Beach and Amelia Island. So guys, welcome to that car
1:25
show. Thank you, Honour.
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Good to be. How'd this book come about and
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how'd you decide the cars or decide on the cars that made the
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cut? Well, I will ask Chad to answer
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the first question of how it came about because he's a little
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closer to the publishing and and project manager side than I was.
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So start there, Chad, if you would and how this all came
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about. And then we can talk about the
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arm wrestling over lists of movies.
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Yeah, for sure. So this is part of a a film
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series that I've been publishing.
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The first one was Lair, which is about the iconic movie villain
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Homes in all the films, like all the bad guys live in really good
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home. And and then the follow up to
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that was this idea of a car, motorcycle, vehicle book from
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from film. So it's part of a a whole series
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of of books where we look at, you know, different aspects of
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film, mostly design centric, you know, architecture, cars,
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automotive design, and really uncover and go really deep dive
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into a lot of fascinating information that, you know,
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people don't, you know, generally know about these
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incredible things that they've grown up with.
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It's broken down into 7 sections and I think they're speed cars,
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hero cars, outlaw cars, possessed sci-fi, comedy, and
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music. And I do like that there's one
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section that features cars that are possessed.
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Like there were enough of those for their own section.
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But you know, beyond that, they're the cars you expect to
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see, right? Like there's the Back to the
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Future of DeLorean. There's the 59.
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I always knew it was a Cadillac. I guess it's a Cadillac Miller
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Meteor, which must have been like an outfitter or something,
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right? From Ghostbusters and of course,
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James Bond's Aston Martin DB5. But they're also what you might
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call some deep cuts. What would you call the deep
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cuts maybe that you included? Matt.
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Cuts define me. Deep cuts.
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Well, the the stripes GMC. The RV.
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Was maybe 1 I wasn't expecting to see right?
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That was one that was on all three of our lists almost
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simultaneously. Yeah.
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Yeah. Because it's just so out there.
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Yeah, we figured it had to be. And, and to update your original
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statement, we have three motorcycles and one and one
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motorhome. OK, OK.
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OK. So it's not just about four
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wheels, but we got a lot of burning rubber here.
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The Stripes film, I mean, just that, that moment where they,
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they, you know, they're protecting the, the special
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weapon vehicle and then they decide to take it for a spin and
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it's just like, and they then they go into like Yugoslavia
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when it's communist and they have to get there and they
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become heroes. It's just and Bill Murray is
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just incredible in that film. So it was a lot of it is is
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from, you know, the things that we were moved by in in childhood
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and have have kept with us throughout the years.
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Yeah, Chad, I saw in the book that you were tell a story about
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when you were a kid and and I think you grew up in New York,
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right? New Jersey.
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I was born in New York. OK, yeah.
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And and you had a set of grandparents who every time they
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came to visit you, they'd gift you a a new Matchbox car.
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Yeah. And that those are the gateway.
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Drugs, aren't they? Yeah, I love them to death.
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But you know, the Matchbox car was like an extra bonus of
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seeing like my lovely grandparents, my, my mother's
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parents. And yeah, they would drive from
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Bayside, Queens to, you know, New Jersey, you know, probably 2
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hours every week and, and somehow go, you know, get, get
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me a little matchbox car. So I had hundreds of these
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matchbox cars that I used to play with and race around and
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and, you know, it was just a incredible, you know, first love
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of of something was these cars are.
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There any cars that either made it in or didn't make it in that
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caused either arguments or intense debate.
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I'm I'm curious like what was the process there?
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I would say it never was an argument.
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Never really. Yeah, the there were the four or
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five of us. And I mean, this is a team,
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truly. And there was.
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Oh, yeah, we're a great team. You know what?
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This was a great team. We we all got along.
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We leaned on each other, we helped each other.
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Sometimes we corrected each other, whatever the case may be,
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but it was extremely inclusive and we just had a blast doing
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this. I hope you have as much fun
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reading it as we did building it.
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It was just, you know, like, OK, well, you know the book.
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If we if we don't stop, we'll be 900 pages and 68 lbs and $100
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million a copy. Yeah.
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Which in fact, it was right. And yeah, you're.
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Getting there, You know it is The book has girth, right?
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Let's let's say that, yeah. It's incredibly heavy and, and
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rich and, and and beautifully printed and, but we originally
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had 50 cars and Matt almost got it.
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It was over 600 pages and yeah. And so, you know, there's
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probably a second volume there even for the, the movie cars.
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But you know, we started with a list of a couple of 100 and we
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kept wedding it down and wedding it down.
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And you know, but there's, there's a couple ones that
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didn't make the cut that, you know, I, I, I, I miss, but we
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had no choice but to kind. Of yeah, we all, we all lobbied
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a little bit, but at the end it was basically a consensus vote.
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It was an equal team and neither one of none of us really had put
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your foot down say over anybody else.
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So we, we got to consensus and at some point you say, well, OK,
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between these two, but but that one's really a little more like
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this one and that one is kind of close to that one.
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So maybe that one can go. And it just, it was just
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organic. And we, we did did it all in
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meetings just like this. Yeah, yeah.
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We had Zoom meetings and we held up magazines and books and, you
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know, said why this should be in or needs to go.
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I will say I want to make the point that why are these cars
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there? Some of them are there.
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Many of them are there because they're fantastic, they're
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memorable, they're iconic, whatever word you want to use.
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And there's a few of them there that are there because they're
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dreadful, but but they're memorable.
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Yeah. Yeah.
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You know, And some of these are like iconic.
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Well, yeah, maybe because it's such a weird, stupid car or it's
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iconic because it is. Of course, we had to cut down to
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3 James Bond features. There's only three could have
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been, you know, of course, there are many books, the cars of
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James Bond films, and you can get those and they're great.
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And we referred to them in this book, but it was just an ongoing
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discussion. Check and balance, check and
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balance. And somehow we got down to the
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package you hold in your hand. And I, for one, hope there's
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volume to because we've got 25% of the material done.
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Yeah. Yeah, that's amazing.
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I know you guys are asking the questions, but what do you think
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is missing or you know like that like if you were to each pick 11
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car, what do you think I mean? Every time I looked, I you had,
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you know, the ones I had in, in mind.
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You know, I mean, for me, there were three that really stuck
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out. I'm a Chicago guy.
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So my personal favorites are, you know, the Blues Brothers.
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What is it? The Dodge Monaco?
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Yeah. Ferris Bueller's 61250 GT
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California Spider replica. Right.
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Which I think not everyone knows.
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And that's currently at the Peterson, I think at the at the
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moment. And the one that really hit home
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just growing up and and watching these movies filmed on the North
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Shore of Chicago, the 78 Porsche 928 from Risky business.
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That was it for me. So let me think about what might
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be missing. But those are the three that I I
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looked for as soon as. I I will say, Ryan, I this day
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when I watched that film and that 928 goes into, you know,
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Lake, MI, my heart stops. You know, it's just like, you
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know, the same thing with Ferris Bueller when like caverns
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picking that car, like please don't let this happen, you know,
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and. I know, I know.
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And it could be the Brit and me. I don't think Chitty Chitty Bang
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Bang's in there, is it? It.
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Is I need to? Read we can edit that out, but
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yeah, you know. We love Chitty Chitty Bang Bang.
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Yeah, yeah, yeah. And it's.
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A big book. Mark Newson, who's, you know,
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one of the the world's most incredible industrial designers
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and is working with Johnny I've of of Apple fame designing the
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new electric Ferrari. Chitty Chitty Bang Bang was his
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favorite car growing up. I'm kidding.
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I'm kidding. 'Cause he used to play around
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like building soapbox cars to race in Australia and he felt
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like a very deep connection with Chitty Chitty because it was
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kind of like made in the backyard.
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But that's great, Dad. Yeah, I love it.
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So no one had any missing one? No.
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There is one and and it is so we had Robert Nagle on recently on
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the show and I don't know if you guys know Robert Nagle.
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Hell of a hell of a guy, great guy.
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And I asked him what he drove, what was in his garage.
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And it was a car that I I really appreciate because it wasn't an
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obvious choice. And it's in one of my favorite.
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I guess you could call it a car chase movie.
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And that's an Audi S8 like they used in Ronin, and I don't know
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if that was on any of your. Not an original list.
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It was on a list but it wasn't as it didn't make the final cut
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but it could be volume to. Sure.
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Yeah. And, and, you know, to be
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honest, it probably doesn't fit with with these cars.
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It's not quite the icon. It's an icon for some of us,
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right? How about you, Dad?
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Not to mention the Audi in I robot.
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Yes that one. That one got a lot of
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consideration. Because that.
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Was the first, that was the first we saw of what would
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become the street R8, that concept car glowing and floating
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and Will Smith and and all that. Yeah, there, there were a couple
12:06
of those Audis that played strong until we got to volume
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one or two. Yeah, yeah.
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How about you, Dad? What do you got?
12:14
Hot Rod from Iron Man. A hot rod from Iron Man I I know
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the R8 from Iron Man, right? The hot rod from Iron Man is the
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one where he looks as he's about to paint his suit and he's
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looking for inspiration. Oh, in the his workshop, right?
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Yeah. But it's not quite iconic in the
12:34
same way. I'm just looking for getting out
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of jail after he's trying to. Pick what the big Sure we
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didn't. Yeah, yeah, yeah.
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Well, what what resonated with you, Dan?
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Like what were? I it, for me, it was more the
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the detail that came in afterwards.
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So like if there was a car that had a specific route that it
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took while it was filming, there's the map in there.
12:57
Yeah, which? Yeah.
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The bullet was an example of that where you know, you had the
13:03
streets of mapped out in terms of the route from so it was the
13:06
level of detail versus the actual cars.
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But you know, you can't go wrong with a Bond car, can you?
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It's. Yeah.
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A number of those cars should have won best supporting actor
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and got an Oscar. Yeah.
13:18
So guys. I'm a graphic designer by
13:20
training and and really a print guy at heart, so I know a good
13:23
book when I I see one and and your book is just really
13:27
beautifully done. I don't know what they call it,
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but whenever you have the the silver on the edges of the
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pages. There's the silver foil.
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Yeah, foil, right, right. You know, I mean, it's, it's
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always a a good sign, but it's really a visual book with a ton
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of photos and and what was that process like?
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Like tracking that stuff down and then I guess getting the
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rights to use these things to have just been.
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Yeah. Well, I I will say that there is
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one person who is not often mentioned, but is the probably
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most important person in the book itself.
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And it really made it happen. And it's the publisher of TRA
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who actually did all the graphic design by herself, the entire
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thing, did all the screen captures and found every image,
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corralled myself, Matt and Chris, you know, three wild
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cards, you know, into making this book in a really compressed
14:28
time. And I also say she's my my wife
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and soulmate. So, you know, so we, but she,
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she watched all 50 films because there were 50 in the beginning.
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Each one took her three hours because she would screen capture
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things. And then she coordinated with
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the artist. She laid out all the graphic
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design. And it's my wife, Ilona and
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Matt. I don't know.
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I, I, I leave it to you a little bit, you know?
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It's absolutely true. And I'm not saying that just
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because he's here and just because she's his wife, but but
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Ilona was absolutely our fearless leader in this project
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and she drove every aspect of it seamlessly.
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And it was, as you can imagine, a tremendous amount of work.
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And for the benefit of listeners and readers, I also want to
15:21
recognize our film critic and film author, Chris Nashawati,
15:26
who's not on the call with us. Chris is a lovely guy with a
15:30
wicked sense of humor and knows film like you can't imagine.
15:37
And he, he got some of these great interviews for us and he
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wrote the cultural imperative capsule for each of the films,
15:49
you know, cuz I'm the car guy. I wrote the car stuff.
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Yeah. And, and Chad got a lot of great
15:54
interviews and made some visits and stuff.
15:56
And then and, and Chris is the the cultural imperative guy,
16:00
former editor of Entertainment Weekly magazine knows this stuff
16:05
dead cold. And and he told us what the film
16:10
was about, why it mattered or why it didn't, who directed it
16:15
and who produced it and why that person was cast over this person
16:18
and who drove the car. And you know this one because
16:22
the reason the the Porsche in 16 Candles has an automatic is
16:27
because the actor doesn't drive a stick.
16:31
So I wondered about that for years.
16:32
Yeah, that. Car.
16:33
Was appointed that. Car was in the 50 that was.
16:38
Interesting. And it will have to be.
16:40
And one of the guys in my architecture office actually has
16:43
that exact car. Get out.
16:45
Aches car, Yeah, so. How many transaxle Porsches, I
16:50
guess can you have in in in one book, right?
16:53
Yeah, that was incredible film. But yeah, you, you, you bring up
16:57
some of the interviews and, and it is honestly that I, I think
17:01
it was one of the most rewarding things for me to interview these
17:06
incredible people and hear their, their relations to cars,
17:13
to the films that they made or were in or designed cars.
17:18
You know, some of the standouts are, you know, Michael Bay, who
17:22
is not only a good friend, but a client.
17:25
I designed both his homes and in, in, in the home, there's all
17:31
the, a lot of the cars from Transformers.
17:34
But just hearing Michael tell his incredible stories of his
17:39
first car and how his father, like in the movie Transformers,
17:45
took him by like a Porsche dealer because Mike Michael
17:47
wanted a Porsche so bad and then drove right by and like, are you
17:51
joking? You're not getting a Porsche.
17:55
So, but it's just like, I mean it, it's really, you know, these
17:59
interviews are, are incredible. Yes.
18:03
You look so much from these people and they really opened
18:06
up, so a lot of Nuggets in there.
18:09
Yeah, John Landis was extremely forthcoming with his commentary,
18:14
as was Michael Mann. And boy, there's a heavy duty
18:19
Hollywood dude right there. And and he, they spent a great
18:26
deal of time filming that movie in Modena, Italy, a city and a
18:30
region I particularly love. I love Modena.
18:34
I mean, when I, if I die there, don't move me, 'cause I'm
18:38
already in heaven. I'm already in heaven.
18:40
Yeah, but, but Michael and I were talking about restaurants
18:43
we both ate at, at, you know, 'cause he's there with the film
18:47
and I'm just there on vacation and screwing around with my car
18:50
friends. And we went to the same
18:52
restaurant. We just didn't know it.
18:54
That's great. These guys were great.
18:56
Yeah, the interview with Michael was one of the few, Matt that we
19:00
all were there and did in person.
19:02
We were at his production office and Michael's also a good
19:07
friend. You know what he, I grew up
19:10
watching Miami Vice. And when we do the, the, the,
19:14
the TV version of this book, which we hope to do the, you
19:20
know, the Ferrari Daytona is going to be in that book.
19:24
And you know, it's that that was like, you know, so I grew up in
19:28
New Jersey and I dressed like Crockett at my 8th grade
19:33
graduation, you know, and, and that's how I actually ended up
19:37
in Miami by watching Miami Vice and started my career there.
19:42
And funny enough, the reason Michael and I became friends is
19:46
when he came to film then the movie, he reached out to me
19:50
because he he had told me like your architecture represents the
19:54
Miami of today. And that was like, you know,
19:58
such an incredible moment because I watched Miami Vice
20:01
growing up and ended up moving to Miami because of that.
20:04
So, but it was an incredible interview and, and the amount of
20:09
knowledge that Michael has about every aspect of the cars and the
20:15
the detail. I remember in the movie, you
20:18
know the Ferrari from the movie is not in in the book, but I
20:21
remember when we met he was flying to Madera to pick out the
20:26
color. Of the Ferrari for the film.
20:28
So he gets like so into the details and he's just a true,
20:35
you know, genius in in film making.
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It is amazing. Sorry to interrupt you, Rob,
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just to finish. His thought is you figure, you
22:19
know, all of these various Hollywood types, we're dropping
22:22
a lot of names around here and they're exit.
22:24
They're producers, EPS, directors, art directors, set
22:28
designers, all of those people. And you figure, you know, OK,
22:35
they've they've all got money. They can buy whatever cars they
22:37
want. You know, some of those folks
22:40
don't give a whit about cars. And then when you find some that
22:44
do, it's fascinating. And they know their stuff.
22:50
They not only have their own personal taste, but I mean, that
22:54
reflects out their, their knowledge and their passion for
22:57
cars reflects out in their films and in this book.
23:01
It was just fascinating. I, I had a great time.
23:03
I was chatting with John Landis recently.
23:06
As one does, Yeah. And it was.
23:09
I don't does, but I did that night and and we were talking
23:15
about the Dodge Monaco's, the, the, the Blues mobiles.
23:19
And he says, you know, we bought truckloads of those things of
23:24
police auction for like $400.00 a piece.
23:28
And they said, how many did you destroy?
23:31
He said, I all but one of them, I think.
23:35
Yeah. And I thought that was kind of
23:37
fun, but, you know, because, you know, they jump those things and
23:39
crash them and burn them and everything else.
23:42
And something that that really struck me too is we did this a
23:45
lot of the cars in this book and in films are kind of like
23:50
showrooms talk examples. The 928 we talked about from
23:53
risky, that's not modified in any way.
23:56
It's a stock 928. Wonderful thing, wonderful car.
24:01
Then you have cars like most of the, the, the modern Batmobiles,
24:05
let's call them, and, and a whole lot of others that are,
24:11
are cast and costumed for this role.
24:17
I mean, it's, it's, it's no accident the way they look or
24:20
the way they do or what they do because they are cast like an
24:24
actor and they're costumed just like an actor for these roles.
24:29
And we, we tried to call those out when that was relevant to
24:32
what we were talking about in the book.
24:35
But that, to me, is when when cars become actors, and they
24:39
really are. Let's talk about that.
24:42
If we could car casting, the importance of car casting,
24:44
because there's nothing that'll take you out of a movie faster,
24:48
at least for a car guy, right then the wrong car in the wrong
24:52
era or just the car that doesn't fit the personality of the, you
24:56
know, of of the protagonist or, or what have you, right.
24:58
So maybe some bad examples out there that that spring to mind.
25:03
There's a bunch of them, and I'll tell you.
25:05
And my, my wife just, she laughs at me because when I see the
25:09
wrong car, the wrong year, the wrong, wrong, wrong, wrong,
25:12
wrong, wrong. Something for context in a film.
25:15
I mean, my butt comes right off the couch and I go nuts.
25:19
Yeah, Yeah. And there's enough people,
25:22
continuity people and set designers that know this stuff.
25:26
Yeah. If not, folks, I'm available.
25:28
There you go, that should not be it.
25:31
Shouldn't. It should not be, but it sneaks
25:34
through. Yeah.
25:35
Now I don't know if that's like, well, that's what we had on,
25:38
that's what we had on hand, that's what we had budget for.
25:41
That's what we found. Or it was part of some product
25:44
placement thing. It could be any of the above.
25:47
Yeah, but that stuff makes me mental.
25:51
So Matt, one of the things that comes to mind is Michael Bay's
25:55
interview where he said he when he when he was making Bad Boys
26:00
production designer, they didn't he was like, it was his first
26:03
movie, didn't have a big budget. He didn't have like they didn't
26:07
have like really tremendous faith in Michael, even though
26:10
Jerry Bruckheimer believed in Michael like the sort of crews
26:14
and people. So they said, why don't you give
26:17
Will Smith a Mustang? And Michael was like, this guy
26:23
cannot be like driving around in a, in a month back.
26:26
And, and, and to Matt's point, like the budget was like, I
26:29
don't know, $500 a week or something.
26:33
Michael actually owned that Porsche that was in the film and
26:39
had it shipped over and, you know, made the car incredibly
26:43
iconic, you know, in the process.
26:46
Yeah, it wouldn't. Have been nearly the same film.
26:49
Without that. I know that's right.
26:51
Got to give special credit to the movie Boogie Nights, which I
26:55
think is some of the best car casting in anything I've.
26:58
Ever seen? I can go on and on.
27:01
If just what a wonderful movie that is volume to volume to OK,
27:04
good to good to know. And and I mentioned Wes
27:06
Anderson. I don't know if that was before
27:08
we started recording or not, but he always does a really good
27:11
job. The movie Rushmore with the
27:13
Mercedes 300 TE, the Megan, right for the teacher.
27:17
I mean, it's just that was that was exactly the right car and it
27:19
just, you know, it really just puts a bow on a a movie like.
27:22
That, yeah. And I think Bill Murray was in
27:25
that right? And he had like a role was.
27:27
Yeah, well, Bentley, yeah, I think it was right.
27:29
But yeah, yeah, yeah. And he's sitting there like.
27:31
This right color, the right you know.
27:34
Just just right. We're sitting there with his two
27:35
boys in the back seat, the, the redheaded twins.
27:38
And he, he said never in my, you know, my wildest dreams or
27:41
whatever, paraphrasing, did I ever think I'd have kids like
27:43
this, You know, And it's just like, it all just came together
27:47
just so perfectly. Yeah.
27:49
Oh, for sure. And then you know.
27:50
Sometimes. Sometimes it really works.
27:52
Yeah. Yeah, I mean further.
27:54
Makes the film go ahead. Chad further, yeah, further.
27:57
You know, because Michael gave a lot of really interesting
28:00
insights. But you know, in Transformers,
28:03
how he casts the cars and he spoke about Bumblebee and how
28:08
Bumblebee was originally in the, in the cartoon, a Volkswagen
28:14
Beetle and how he went into General Motors and saw this sort
28:20
of prototype that they weren't really going to make for the
28:23
Camaro. And he worked with them in the,
28:25
you know, and help design and finesse things.
28:28
And then ultimately they produced the car that because it
28:32
became such a big sensation. So, you know, really.
28:36
And, and then there's another funny story that Michael speaks
28:39
about is that he, he probably, he feels like he's made GM
28:43
billions of dollars because of that.
28:46
And then he ended up, I think he said he, he had Bumblebee.
28:52
So funny enough, when we designed Michael's house in Los
28:55
Angeles, he, we had like a prop museum in the lower level.
28:59
And we have Bumblebee on a turntable because Bumblebee paid
29:05
for the house. And, you know, but, but the
29:09
funny part was is that the CEO changed somewhere along the line
29:14
at GM and they came to Michael and they said he stole the car
29:20
and they asked him to to buy it. And he and, and, and it was
29:24
quite expensive. I think it was like a quarter
29:27
$1,000,000 or $500,000. And he was like, that's the last
29:31
time I'm ever using like AGM car in my field.
29:35
Wow. Yeah, that's.
29:37
Amazing. But it isn't that.
29:39
Yeah, what? Say it again.
29:40
Sorry. It is in the house.
29:41
That's so cool. So which which I guess came
29:45
first, you know, these relationships with these
29:47
directors or the architecture, Like what was your entree into,
29:51
I guess the Hollywood designing for the Hollywood scene?
29:54
Yeah, I would say that, you know, Michael Mann, Michael Bay,
29:58
you know, became friends through my architecture practice.
30:03
And then Mark Newson, we just had some mutual friends in
30:06
London. My son ended up actually working
30:09
for him this summer in London. And that, that was a lot of fun.
30:14
Dennis McCarty McCarthy, who, who does all the cars for the
30:20
Fast and the Furious. That was someone that I I just
30:24
reached out to. And then, you know, we have
30:28
Stephen King, who, I mean, come on, is that incredible?
30:31
I mean, what a incredible honor. And John Landis, so Chris, reach
30:37
out to them. Matt had the relationship with
30:39
Jay Leno, which was an incredible contribution to the
30:44
book as well. Yeah, really liked his his
30:47
intro. I thought it was really
30:48
heartfelt. Yeah, genuine.
30:49
And you? Know and you also had people
30:51
from the world of motor racing Jeff Gordon was it that's.
30:54
Right. Jeff Gordon.
30:55
Yeah, Jeff Gordon. The way I, I connect he, he
30:59
reached out to me to have us design A home for him in
31:02
Colorado and, and we became friendly through that and he's
31:07
just an incredibly great guy and just obviously legend of of the
31:14
track and you know, so. And he, he talks about the, the
31:19
Disney film cars, right? Yes, yes, yeah, which was really
31:24
great to have that that and that was something, you know, there
31:27
was something controversial, I guess Matt for Jay Leno was
31:31
like, why it's like lightning? Why is like, you know,
31:35
lightning? Jay picked on Lightning McQueen
31:38
a little bit, said okay, It's not even a car, you know.
31:41
Jay. Yeah.
31:43
Well, it it is. And it's in a movie called Cars.
31:47
Yeah. So, and probably it's there,
31:49
probably one of the most loved cars in the history of yeah.
31:54
Yeah. How many and there is one in the
31:56
Peterson, Dan, right, yes. There is a life-size one, yeah.
32:01
And how many, how many Hot Wheels has that movie sold?
32:05
Well, there you go. I mean, come on.
32:07
Yeah. Right.
32:07
Yeah, Yeah. I think that there's a whole
32:10
generation for which that movie will prove to be very important
32:14
for their future enthusiasts, I guess.
32:16
Procedure, right? So.
32:17
Yeah, and I actually, I got to work with Pixar to do a hotel
32:23
for them in Disney in Shanghai. So I became friendly with like
32:28
the designers of of all the, the, you know, the production
32:32
designers in the, in who did cars and all the other films.
32:36
So it's unfortunately the guy who did, he passed away.
32:39
So one of them, you know. You, you have the late Marcello
32:46
Gandini in here as well, which which is pretty special.
32:50
I think we lost him, what, a year ago or so?
32:52
About. Yeah, about.
32:54
And it was, it was we were doing well, we were doing the we were
32:59
talking about the Mira in. The Italian.
33:06
Job The Italian Job, the original Italian Job, the Mira.
33:10
That unfortunately has far too short and quick and disastrous a
33:13
role in that film. But Gandini designed that too,
33:18
and we decided with with him. Of course, we did not get to
33:21
interview him live or in person or anything, because he was
33:24
already gone. But he had so much commentary
33:27
and interview material out there that we were able to apply it to
33:32
the Mira and car design, Italian car design in general.
33:35
And yeah, what an unbelievably gifted guy.
33:39
And if you look at his portfolio of stuff, I mean, it's it's
33:45
Italian greatest hits. Yeah, yeah.
33:47
Really. He's, he's really a top, top,
33:49
top level man and too bad we lost him it only I don't think
33:54
he was quite 90 yet. He probably had a few more cars
33:56
in him. You know, going back to cars.
33:58
I'll just relate one thing I think a lot of people I hope can
34:01
relate to. I interviewed was one of Paul
34:05
Newman's last interviews before he passed away about his role in
34:10
Cars. Because of course, as you know,
34:13
he played the fabulous Hudson Hornet.
34:15
And he also in the courtroom scene with Owen Wilson's
34:19
character, you know, with Lightning, he was the judge.
34:23
That's race drivers. I know they're type.
34:28
I want them out of my courtroom and I want them out of my town.
34:33
That was his last movie, wasn't it?
34:34
That was his final. Which?
34:37
Is protein on the Gandini? You could argue that in theory
34:42
we wouldn't have the James Bond Lotus Esprit if it wasn't for
34:46
Gandini starting the wedge era. True.
34:50
Interesting that's. That's a very fair statement.
34:53
And and you know, just that Countach, I mean, I think like
34:57
honestly, like in cannibal run, when that thing came out, it it
35:02
it just like blew my mind, right.
35:04
And it was just the most out of this world thing, you know,
35:09
watching this black Countach with the fin on the front.
35:13
And and of course, it didn't hurt that there were two very
35:16
attractive women driving. And stealing all my lines, Chad.
35:23
I don't make movies like. That anymore?
35:25
Yeah, I actually learned how to drive stick on a Lamborghini
35:29
Countach. So.
35:32
Yeah, so it took me till I was 50 to drive a Lamborghini with
35:35
the stick shift. I got to drive a Diablo
35:37
recently, very first one. So you were you learned to drive
35:40
on on. AI learned to drive stick on my
35:42
My father had one for a moment and I was about the age and he,
35:48
he took me into a parking lot and it's kind of an easy car to
35:52
drive stick because you go into like 60 miles an hour in first
35:56
year, you know, like so it's and you know, there, there's a very
36:01
funny story with that car. I grew up in suburban New Jersey
36:04
and it was kind of a, a scene to see that car.
36:07
Of course, if you, you know, where in Miami now you see them
36:11
a dime a dozen, But at that time it was a very unique car.
36:15
It was probably one of the few in New Jersey.
36:17
And, and I remember my, my father tells the story that he
36:20
was at a stoplight in front of my high school and it was in the
36:23
summer and they took it for a long drive.
36:26
And this guy pulled up next to him.
36:28
He's like, he's like, man, that's a hot car, but shouldn't
36:31
fire be coming out of both tailpipe, you know, and my
36:36
father's like, what was this guy talking about?
36:37
So they, they drove home, you know, 5 minutes away.
36:41
And my father's like to my mother, like, why don't you take
36:44
a look at at the back And she kind of popped her head and he
36:47
hit the gas and like fire shot out like the Batmobile.
36:51
They were, they were carburetor engines, those old ones.
36:55
And they were always flooding and you know, so it was a lot of
36:59
fun. That's I only drove it once.
37:01
Well, it's one more time than I think Guy or Dan ever did.
37:04
Yeah, that's. Did you have other cars like
37:06
that growing up or And Matt too? What did you grow up with in the
37:09
house? My dad was a car guy from way
37:11
back and you know, he had Fords and hot rods and all kinds of
37:15
stuff and then got into sports cars in the late 50s.
37:17
And I'm an omnivore, you know, I eat all meats and, and I think
37:22
that that I, I garnered that taste from him of learning to
37:29
find something to appreciate, if not understand about most any
37:35
kind of car. I mean, I love old trucks, I
37:37
love Ferraris. You know, I'm because I'm an
37:40
omnivore and, and we always had cool cars around.
37:44
My father will remind me of his 1958 Austin Healey that he used
37:49
to drive until my mother could no longer get in it because she
37:54
was pregnant with. Me.
37:56
Damn you, Matt Stone. And my father always ribbed me.
38:01
Damn it, you cost me my Healy. Well, I hope it was worth the
38:06
deal. But anyway, yeah.
38:11
And, and we went, we went everywhere.
38:13
There was car things happening. We went to the races, we went to
38:17
the car shows. We used to go to the dealerships
38:19
every fall to get the new brochures.
38:22
We went at the auto shows. I mean, I was exposed to all of
38:25
it and found out I like most of it.
38:28
So I give my dad a lot of credit for that.
38:31
And my mom, I don't know, she put up with it, I think.
38:34
Yeah, yeah. Or or, you know, tolerated.
38:37
It is maybe a better word, but I was just, I was inundated from
38:43
the at the deep end from the time I was, you know, old enough
38:46
to understand what a car was. And it's a sickness from which I
38:50
hope I never recover. Yeah.
38:53
My sicknesses go. Sorry, so my, my father, there's
38:59
like a legendary story that so my, my father grew up with like
39:04
no money whatsoever, but somehow his grandmother remarried and
39:09
her husband had some money. And for his 18th birthday, my
39:15
grandmother, my great grandmother asked it like, what
39:17
would you like? And he's like, you know, I'd
39:19
like a Corvette. She's like, well, why don't you
39:22
go to the dealership? But it was like 1965 or that and
39:28
and he went and he like put every single option on it and
39:32
like, and like, you know, it's he didn't even know how to drive
39:34
stick. And you know, it was like this
39:36
legendary story and I regret him ever selling it.
39:40
But like when he made it on his own because when he died,
39:45
actually all the money disappeared somehow because he I
39:49
guess he had a lot of debt. But when he, when my father
39:51
finally like went out on his own, he got a Cadillac Seville
39:58
and the pride that I, I, I could still smell it today, like going
40:04
in. And he had like the, you know,
40:07
the those mat like from the dealership, you know, like we
40:11
could even take the paper because and we could wear our
40:15
shoes in the car and, and it was like, and I remember it was
40:19
like, kind of like it was a silver.
40:21
Cadillac Seville with like a silver interior and he was the
40:26
happiest person in the world. And you know, and but you know,
40:31
that was kind of his thing for a while.
40:33
And then somehow when the lira, the Italian lira like devalued
40:38
my parents up going to Italy and he bought like for probably
40:44
hardly anything because the lira was like devalued.
40:47
He bought a Ferrari Mondial. Oh, no kidding.
40:50
And and then somehow he got it and he didn't like the way it
40:54
drove and then ultimately got that Lamborghini for a couple of
40:56
years and then sold that. And now now he drives an Audi
41:00
Q5. So it's not that he's.
41:04
Really made it. He.
41:07
Went. Downhill, yeah.
41:11
I love the story about taking your shoes off or whatever in
41:13
the in the Cadillac. I was just reminiscing the other
41:15
day when we remembered how when we would get a car when we were
41:18
kids, generally for Volkswagens, new Volkswagens.
41:21
And we take Rd. trips, you know, these 1213 hour Rd. trips.
41:23
And the only thing my dad would let us eat in the car were lemon
41:26
drops like this, hard lemon candies, you know, for fear of,
41:30
you know, ruining, you know, the, the, the Naugahyde or
41:33
whatever. Yeah, yeah, yeah.
41:34
Diesel. We had, we had a car that we did
41:37
a lot of Rd. trips on. So we would go from New Jersey
41:41
to Vermont in the winter to go skiing, and we used to fly on
41:47
People's Express. I don't know if any of you guys,
41:51
but you actually was the airline where you like paid when you're
41:54
on board. They had like a credit card
41:56
machine and then somehow we just got caught in the snow.
41:59
We ended up my father ended up buying a a wag, a grand Wagoneer
42:04
with the wood sides. There you go.
42:06
That was our that was our go to like, you know, driver to get up
42:11
and back-to-back and forth Vermont.
42:13
Yeah, everyone of us poor kids of a certain age unfortunately
42:16
had a car with Dinak on the sides in our in our past.
42:21
Mine was a a Mercury Comet villager was my mom's car with
42:25
the Dynok wood on the sides. And my dad always drew after
42:28
that drove Lincoln's. And you're right, you don't be
42:31
eating Natalie. Yeah, well, that's funny you say
42:35
that because Ilona's first car was a Le Baron.
42:39
Convertible Baron. Wow, she would call it Le Baron.
42:42
Ilona's actually Switzerland. She's from the German side, but
42:45
she speaks. OK, OK.
42:47
Well, so she would always call it Le Baron and it sounds very
42:50
nice, you know, but it had handling on the side as well,
42:55
so. That's a segment of car that
42:57
just doesn't exist anymore, right?
42:59
You know, the Lebaron, the the Grand Wagoneer, the Buick Riata,
43:03
like the Oldsmobile, what was it?
43:05
The the Cutlass convertible. These were the cars, like upper
43:07
middle class, sort of aspirational, you know,
43:09
American, you know, it's just those cars just don't exist.
43:12
Anymore they they Cordoba. That's.
43:15
Right, forget that the Cordoba. Did that have the Corinthian
43:18
leather? They all had it, OK, whether
43:22
they had it or not, they probably the owner would always
43:24
say it had it, yeah. Have we ever determined if that
43:27
was a real thing or if that was just a marketing gimmick?
43:29
That was a marketing name. OK.
43:30
All right. It did not come from Corinthian
43:33
or from Corinthian cows. May not have been leather, who
43:36
knows. It's Corinthian marketing.
43:38
Yeah, yeah, yeah, yeah. Corinthian cows.
43:41
Yeah, yeah, it's well, we talked about cars you grew up with.
43:45
What were the movies? I mean, you wrote this book
43:46
about cars and movies. What?
43:47
What were favourites of yours? Well, I mean, certainly, you
43:51
know, I, I grew up, I was born in 1971.
43:54
And when I was coming of age to to see these things, you know,
43:59
Rodger Moore was my James Bond. OK, we had to include the DB5
44:04
just because it's like the classic and it's so elegant and,
44:08
you know, and it's Sean Connery just drives it so well.
44:12
But you know that Lotus, the spree that transforms into the
44:16
submarine was just like, you know, and of course you know the
44:23
cannonball runs Smokey and the Bandit, you know all the.
44:27
Favorite of Dan's, I think, isn't it?
44:30
Yeah. What a great film.
44:34
What a great film, you know, so. And of course, you know, Ferris
44:37
Bueller's and Risky Business and you know, I will say those two
44:42
movies made me never want to take out any one of my or
44:50
without explicit permission that that was just too, too
44:55
dangerous. Cautionary tale for a whole
44:57
generation, Chad. Yeah, for sure.
45:00
Matt, you were saying I'm sorry? You said Chad is going to rub it
45:03
in that he's younger than me. We'll just, we'll just forget
45:06
about. That for a minute.
45:08
In 1968, my father, because he was my father, God bless him,
45:15
took me to the Cinerama Dome in Hollywood, CA to see Bullet.
45:23
Oh wow. Now, I don't know if you are at
45:26
all who's familiar with the Cinerama Dome, but it's it's the
45:30
closest thing we had to IMAX. At the time.
45:34
I mean, it was giant tall screens and I don't know, it
45:36
must have been 180° and and just killer sound for the time.
45:42
And believe me, that green Mustang and that black Charger
45:46
bouncing down those hills still makes me nauseous.
45:50
I get a queasiness. And of course, naturally, right
45:53
then and there, I'm going to grow up to be Steve McQueen
45:55
because he's the baddest dude that there ever was.
45:58
And I want me a green 68 Mustang GT 394 speed fastback so I can
46:03
do burnouts just like that, Yeah.
46:06
Yeah, Matt, you're, you've written a book about that,
46:09
right? I mean I.
46:10
Did Yeah, I, I, I did. I wrote a book about the the
46:14
whole bullet thing and believe me, there is more BS, lie,
46:20
innuendo and rumor about the making of that film than you can
46:26
imagine. I mean, why?
46:27
Why that film? Why?
46:28
Why the? I I think, 'cause it, that stuff
46:35
kind of trails Steve McQueen with a long tail.
46:38
Yeah. You know, rumor lies in innuendo
46:41
and, and I and, and I always write from the perspective of
46:46
the, of the car guy and interest, etcetera.
46:49
I don't care what kind of cereal they had, who they slept with,
46:53
what kind of drugs they did. I don't go there.
46:56
I, it's my audience, I believes could care less.
47:01
So I I don't get into that. But but you know how many cars
47:04
were used and what happened to him?
47:06
And oh, there was one with an automatic and the, the secretary
47:11
from Warner Brothers drove it. I mean, it's just an amazing
47:15
cloud of BS around the making a bullet and and with his family,
47:23
the late Chad McQueen, his son, his late son and and his his
47:28
wife and his first wife and his daughter-in-law and grandkids.
47:31
They said, look, just follow your reporting, Just tell the
47:36
story, right? And that's what I wanted to do
47:39
with that book because, and I'm not plugging it.
47:42
But if you really want to know what happened and who built the
47:45
cars and the stunts that they did and all that jazz, that's in
47:49
in my book. Plug away what's the the the
47:52
full title and. The full title is Bullet the The
47:55
People and the Cars behind Steve McQueen and it's it's currently
48:01
in print. You can find it in the Amazon or
48:03
all those other kind of places. But but man, going to the
48:08
Cinerama Dome in Hollywood with my dad sitting there watching
48:13
those cars bounce down those, I'll never forget that.
48:18
Yeah, Matt, to add to to your story, in the in the book, the
48:26
the opening page of Bullet is actually not a photo from the
48:32
movie or a photo from the car, but it's actually this
48:34
incredible artist from Mexico and he takes models of the cars
48:41
and does these incredible photographs with a lot of
48:44
special effects. And the Ghostbuster, one of the
48:48
images in that book, his name is Felix.
48:51
He there's also the DeLorean on the cover.
48:54
That's one of his images he makes.
48:57
Well, it's not Photoshop. It's like actual photography
49:01
with multiple layers and he, you know, makes smoke in this.
49:05
So he did the .1. Good.
49:07
Good, good, good point of, of story for the book, Chad,
49:11
because a lot of the openers, particularly as as, as Chad
49:15
said, our our Felix's work and and this guy does it with a
49:19
camera and a smoke machine and sparklers.
49:23
Really. Yeah.
49:24
And firecrackers. And I mean, you know, it's, it's
49:26
all organic. It's not AI.
49:29
It's not AI, Yeah. It's better it.
49:31
Is not because it's Photoshop, you know.
49:33
Why? It's because it's art.
49:36
Yeah, that's why. And that's what we wanted.
49:38
We wanted to add a truly artistic element to this book
49:43
beyond the stuff from the film and and whatever.
49:46
And so we just some much thanks to Ilona.
49:51
We've talked about a lot and who deserves the credit.
49:54
I hope she's listening and watching.
49:58
She worked primarily with this guy and and he gave lots of
50:03
samples of work. And again, some of the art that
50:07
you will see is not a direct scene from the film, but it's
50:11
the car and it's done in an extremely artistic fashion.
50:15
Yeah, I feel like it's one of the.
50:16
Coolest things we have done. Is an incredible genius in that
50:21
department. But also, you know, the drawings
50:23
that that you mentioned about the maps and the diagrams and,
50:28
and that that was done by a a group of artists from from Paris
50:32
actually. So yeah, it was calling in
50:35
people from from all over, you know, and, and Ilona actually
50:40
put all that stuff together. I mean, it's, it's a beautiful
50:43
thing, right? Something you know, I'm proud to
50:46
have on my coffee table for sure.
50:48
It's it's, it's just a really a fantastic achievement and must
50:52
be an amazing feeling knowing that you've created this thing.
50:57
You know, you mentioned two cars, you mentioned the DB5 and
50:59
you you mentioned the Mustang from bullet.
51:01
If you had to pick one, right, what rises to the top?
51:05
And I think either one of those might be proper candidates.
51:08
But what what does? It what are like as a as a daily
51:12
driver or as a? Mean you you have the DeLorean.
51:14
Well, you have the DeLorean on the cover, right?
51:16
You have the back of the future DeLorean.
51:18
So maybe that, you know, is the most I can.
51:23
Get a car that is also a time machine.
51:25
I might I? Might you know?
51:27
Like with a flux capacitor, you know?
51:31
I very personally believe, even though I wrote a book about
51:37
Bullet, that the absolute quintessential ultimate ultimate
51:42
Ultimate knee plus ultra movie car is the DB5.
51:46
Hands down stop from there. A lot of other great ones, but
51:51
but nothing set a high watermark for for class and cool and
51:58
bitchiness and creativity and everything else for a movie car
52:04
that truly was cast, costumed and built for that role and
52:08
stole the film in the process. It's it's the it's the DB5 which
52:14
has appeared in only, you know, 9 more James Bond movies for
52:18
little cameos. People say, oh, they forgot.
52:21
People forgot about that car. But Matt, I, I think like, you
52:25
know, to that point when that car showed up on, I mean, it was
52:31
before I, I was born, but when that car, my parents tell me
52:34
about it all the time when that car show like no one had seen
52:39
anything like that, right? I mean, today, you know, you can
52:43
see every car that has been modified or built, right, like
52:46
in the, you know, a few clicks of your, your thumbs.
52:50
But that was like, you know what the, you know, like what, what
52:55
are you saying like? True.
52:57
Mind truly blown. No, no question about that.
53:00
And, you know, ejector seat. You must be joking.
53:04
I know they had the racing history as well, but I wonder if
53:07
we would still have Aston Martin as they are today if it wasn't
53:11
for that franchise. Interesting.
53:14
Yeah. It's always surprising to me,
53:15
Dan, that they oscillated off of Aston Martin and went to like
53:20
BMW and other cars as well. Like it just felt like more, I
53:26
guess unemployment or something, you know?
53:28
Yeah, to your point, Dan, Aston Martin was struggling in the 60s
53:34
and it took all their resources to get the DB5 to come out to
53:39
make it to market. And they and being very astute
53:45
was Sir David Brown and other people.
53:47
They're saying we have the chance for free to put our new
53:53
car in this certainly worldwide hit film with the greatest Scott
53:59
Irish, British actor of the time, perhaps.
54:03
And and they recognized the opportunity to do this and and
54:09
it probably at the time saved the company.
54:12
Now it's true fact. There's lots of financial
54:15
documentation about this. I mean, you know, did is that
54:18
why they stayed with it? It was a good thing and it
54:20
lasted a lot of years and and then they came back to it.
54:24
But at the beginning, Aston Martin was skating on very thin
54:31
financial ice. Yeah.
54:33
Through through pure determination and grit they got
54:37
the DB5 to market and launched it in Goldfinger and and that at
54:44
the time probably likely save the company.
54:49
Yeah. But I would say, like, I think
54:51
it would, you know, maybe it was a financial play because it's
54:54
the most valuable, but it would probably be not the replica
54:57
Ferrari, but the real one from Ferris Bueller's.
55:01
Yeah, nice. Yeah, fun fact on that is that
55:04
the the replica was automatic because Broderick couldn't drive
55:09
steak. Yeah, yeah, that's a little
55:12
tidbit in the book. Oh, is it?
55:14
Yeah. That it was sick.
55:16
It's. Amazing.
55:17
Yeah. As a child of the 80s, I like
55:19
exactly what's on the cover. To me, that is kind of the movie
55:22
car. You're right.
55:24
The DeLorean. I don't know if it's the same
55:25
for you, Dan. I I think because of the British
55:28
connection, the Aston Martin, but it's a close, but that was
55:31
almost a Mustang as well, wasn't it?
55:34
It was almost a fridge and then it was almost a Mustang.
55:37
Luckily, it became a DeLorean, which is iconic.
55:41
Dad, you know why it wasn't the fridge?
55:44
Go on. So Steven Spielberg was the
55:49
producer on the film, and he, he thought that children would try
55:53
to, you know, go into a refrigerator to time travel.
55:57
And he was afraid that kids would get stuck in refrigerators
56:01
and you'd find them years later. Yeah, so, so it's health and
56:04
safety. Yeah, yeah, I think that de
56:07
Lorean's a lot more interesting. Yeah, yeah, yeah, absolutely.
56:11
I know how you get a fridge to go 88 miles an hour.
56:15
And it was probably tough at the time to get a De Lorean to go 88
56:18
miles an. Hour.
56:19
Yeah. In, in, in such a short.
56:23
The short space of that street, sure, But yeah, movie magic.
56:28
We yeah, that's for example of a car that, you know, visual, the
56:32
performance doesn't actually match its visual right power.
56:38
Yeah, right. Right.
56:40
Well, what's next for you guys? Where do you go from here?
56:43
This seems to me like it's maybe the second in a series.
56:46
We talked about Lair that we've got ride.
56:49
I think there's ride part volume to problem.
56:53
OK. And and then you know, there's a
56:56
ride about television where you know.
56:59
The the the small screen, Yeah, if that's a fair analogy anymore
57:04
because some people have screens that are not small.
57:07
That's the. Truth, but but no matter icons
57:10
of the smaller screen. I mean, you know, we could start
57:14
with the original Batmobile and have a list of 150 like that.
57:19
And we've we've all fantasized about it and thought about it
57:23
already. And I would say Chad's correct.
57:27
If, if, if logic followed process, the next would be, you
57:33
know, another ride, ride two ride the continuation volume to
57:38
because there's so much we left on the table and so much more
57:42
fun to be had with great films. Great actors and great cars.
57:47
If everyone wants to see it, you gotta buy buy rides.
57:50
Right, that's. We can afford to ride again.
57:53
It's yeah, pretty. Great thing you know what I love
57:55
about this just like in a very serious and sometimes
57:58
complicated world, this is just like a fun thing, right This is
58:01
just like a you know, time to check out and and just you know,
58:05
relax and enjoy yourself. This is.
58:06
Yeah, no, I think. Impressive achievement.
58:09
It's like, you know, obviously the cars, but it's also like the
58:12
films and, and it's, you know, I think that's it's a it's and
58:16
it's really right, you know, given your graphic background, I
58:20
you know, it's, it's really a truly beautiful page turning
58:25
experience. And we're really, we're really
58:28
excited about it and love, love to to turn, turn through the
58:33
pages and go back and feel the emotions that we've all felt for
58:38
all these these films and these experiences that kind of
58:42
combine, you know, to make a incredible moment in in in
58:47
books. A friend of mine who who just
58:51
got the book a week or so ago, was talking to my wife today and
58:55
told her, he says, you know, after reading about this
58:58
segment, I want to go back and watch the movie.
59:00
Yeah, that's right. I forgot about.
59:02
I forgot about that or I didn't know that.
59:05
And I've never seen that movie. I didn't know about that car.
59:09
So, you know, we all celebrate with film and and I live and
59:15
breathe cars 24/8. And this, I mean, this is this
59:22
is absolute celebrational joy for me.
59:24
And I think it was for the rest of our team.
59:26
We had such a blast. If if you have as much fun
59:30
reading it as we did doing it, then we've done our job.
59:34
Well, celebration is the word. That's what this is.
59:36
It's a celebration of cars from the silver screen.
59:39
So well done to you both and to Chris as well.
59:43
I'm sure there are a lot of folks listening who want to buy
59:45
this for themselves or maybe gift it.
59:47
Holiday seasons coming up. So again, ride the most iconic
59:50
wheels of the silver screen. What's the best way to do it?
59:53
Is it best to go directly to the?
59:56
Is it to TRA Publishing? Traub Publishing.
59:59
Yeah. Art backwards is what I read.
1:00:01
Yeah, exactly. You know, there's there's a
1:00:03
bunch of places, of course, you know, your local bookstore, you
1:00:07
know, Amazon, Barnes and Noble try has some limited edition
1:00:13
ones with a slip cover that I don't know how many they have
1:00:17
left, but on on their website, it's there.
1:00:20
And then, you know, you can go to the Peterson Museum and and
1:00:24
by an autograph book by, you know, Chris, Madam and myself.
1:00:30
Nice. And yeah, in Miami, you know,
1:00:33
there's a lot of local bookstores like books and books
1:00:36
and. Everywhere.
1:00:36
Yeah, one that you'll know probably Dan in Burbank is Auto
1:00:40
Books. Are you familiar with Auto Books
1:00:43
in Burbank? I was just there last week.
1:00:45
We did a book signing and did very well.
1:00:47
And, and I'm there all the time and I sign books for people.
1:00:50
And if you ever want an autograph copy, Tina from Auto
1:00:53
Books, we'll arrange that. And probably the quickest and
1:00:56
dirtiest way to get it is Amazon because it'll be here in a
1:00:59
couple of days and time to to get gift wrapped.
1:01:02
If if that happens to your be your motivation.
1:01:05
But like Chad said, you you look around at any place you buy
1:01:08
books, you'll. Probably find that yeah, it's
1:01:10
doing. Really well, only in New York.
1:01:13
I had done a book signing there. We're doing another book signing
1:01:17
in San Francisco the beginning of the year.
1:01:20
So we're really excited to to share this.
1:01:24
I mean it it, it's just so satisfying to like people to
1:01:28
tell you how they they love the book and oh, they're going to
1:01:30
buy it for this person and that person.
1:01:32
And so it's really great. So.
1:01:35
I should take trial publishing too, just as a bunch of really
1:01:38
good books, right? In all sincerity, I love gifting
1:01:40
books and I think you could probably find just about
1:01:43
something for everyone. Totally, yeah.
1:01:46
There's a lot of really good stuff and a lot of good
1:01:48
cookbooks, a lot of good art books, you know, and there
1:01:53
there's even some stuff on our architecture of of interest.
1:01:55
Fantastic. OK, so tropicalfashion.com.
1:01:58
To your point, Chad, I was going to say, there are some of those
1:02:01
cookbooks on my very own kitchen bookshelf and they and they are
1:02:06
fabulous. Yeah.
1:02:08
Some very, very interesting styles of stuff and food and
1:02:12
things to cook and. And they're all just beautifully
1:02:16
illustrated and descripted, so if that's your taste, you'll
1:02:20
find a lot to enjoy at trial. Yeah, just beautiful books.
1:02:25
Where do we find you guys on social?
1:02:26
Media. I'm at Chad Oppenheim.
1:02:30
One Word or Oppenheim Architecture is more where we
1:02:34
post our work. I I don't do a lot of anti
1:02:39
social media, but I do have a website that does not take your
1:02:42
credit card. It's just about information in
1:02:44
cars and fun and stories from me and call Matt Stone cars.com.
1:02:49
Please visit my biography, a bunch of stories I've written
1:02:53
and books I've done and you know, and hopefully something
1:02:56
that everybody will find a read and enjoy and you don't have to
1:03:00
spend any money to do so. Just please drop in.
1:03:03
Yeah, well, so I could have had to hear tonight, guys.
1:03:06
Chad Oppenheim and Matt Stone, thank you for joining us
1:03:09
tonight. The book is ride the most iconic
1:03:12
wheels of the silver screen. We're that car show.
1:03:15
I'm Ryan. Thank you, Dan.
1:03:17
And. Remember, always be driving.
1:03:21
I'm with Dan.