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Keishichô monogatari: Iryûhin nashi; Government Girl; Secret Service of the Air; Jinsimi Dadda; Where Your Eyes Linger; La cárcel de cristal; Shou cheng qian zhuan; Gang Busters; Kisei shinryaku; Kikikaikai Tan: Samenai Akumu no Monogatari; Edomae Elf; Night Slaves; A Model Family; Sniper: Rogue Mission; Meurtres dans les Gorges du Verdon; (mehr...)

1955 Chevrolet Task-Force 3100 [3104]

1955 Chevrolet Task-Force 3100 [3104] in Dazed and Confused, Kinofilm, 1993

Typ: Pkw, Pritschenfahrzeug — Herkunftsland:

1955 Chevrolet Task-Force 3100 [3104]

Von einem Darsteller oder bei einer Verfolgungsjagd benutztes Fahrzeug

Kommentare über dieses Fahrzeug

Autor	Mitteilung
firebird86 ◊ 2006-03-21 00:33	1955 Chevrolet 1/2 ton, "looks weird with the 2 center uprights removed from the grill"
Wampa-One ◊ 2008-03-22 03:45
GM-Chrysler-Guy ◊ 2014-06-25 01:13	Three stars. Behind the scenes: -- Last edit: 2015-04-09 22:58:56
eLMeR ◊ 2014-10-05 04:04	xx04 was the Chevrolet code for Task-Force pickup trucks. ⇒ 1955 Chevrolet Task-Force 3100 [3104] -- Last edit: 2014-10-05 04:05:08
kentercanyon ◊ 2020-12-31 18:01	Parker Posey's '55 Chevy Task Force gets a lot of screen time. Like the '57 Ford F-100 in FOXES (1979) it's the mobile base of action for some "bad girls" who just want to have fun. And the deeper subtext is that these girls were given the trucks by their fathers, possibly because they lack a comfortable back seat! Relatively early in the shooting schedule, the dialog scenes inside cars at night were shot with full background and using the insert car or tow rigs, which takes time to rig, light and reset, and a fair amount of money for cars, drivers and additional wardrobe, hair, etc. After shooting action with the VW, the GOAT and others the production was forced by budget and time reasons to condense a lot of cruising dialog scenes to "poor man's process" shots where the background is limited and the cars are photographed static, leading to a loss of verisimilitude. Fans of the film can compare the look of the girl gossip scene - "she called you a bitch and her a slut" - shot with it's full background, moving vehicles to scenes like the nerd trio with Marissa Ribisi's station wagon, shot with some moving lights faking the effect. Its all a trade-off. Moving car shots are hard on actors, too, who often have to wait for extended periods of time for resets and re-rigs interrupting the flow of their scenes. The director is removed from proximity as well, whereas poor man's process has an intimate, studio feel to it where the interaction is constant and concentrated. In the end, DAZED has a good balance of the eternal good/fast/cheap triangle. Time is money and you only get to pick two.

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