Scott Richardson: After watching the original Climb Dance I just didn't know how we could even, you know, match at Cleveland, beat it, but they have got a great challenge to, you know, get to try and make something like that.
Tim Vincent: Tim Vincent, Producer-Director.
Scott Richardson: Scott Richardson, Cameraman-Editor.
Tim Vincent: I mean first time in, what 1989-1990, it was pretty at this, pretty well done, and we had obviously a lot of technology to use, in that we had stuck some pretty big cameras to the car.
Scott Richardson: That's what -- I put a -- I have got the old Telethon right behind it. We did not copy that movie either. We wanted to pay respect to it and try and do something a bit different, you know, use some new technology on it.
Tim Vincent: Well I think if you look at even the end credits here, I think there's a lot more people on the crew involved here. I mean it came down to Scott and myself basically, Scott carrying the HD camera around and I am sitting - myself sitting on the on-boards for the practice runs and both of us have to work on it together during the race. So I think that was really efficient. We have teamed up. Scott was editing and moving with new ideas, trying there as well to shots and ideas that put the whole thing together pretty efficiently. I mean we have turned it round, we came in on a Tuesday, it's a Sunday now, and we have almost finished the things. I think we have done alright.
Scott Richardson: Another important thing was we were actually editing on site so we could actually see the video of all of the days, as we collected video and we started editing so we could say that it wouldn't mind a shot from here or we need a bit more dirt or whatever and we could actually see what we have made it so it was a great advantage cutting on site.
Male Speaker: I will get it.
Tim Vincent: Oh, I think it was to capture the actual element of speed out there and the actual intensity, and also the danger that's involved in Pikes Peak and really the whole romance of it as well l I think. I mean it is the second oldest race in America behind the Indy 500, so that's a bit pretty special. You got the mountains peaceful, and its peaceful national park with the pine trees and the ice slowing down and the snow drops -- mess up the things, and then you got this once a year, eighty seven years running now, when these cars and bikes are out at the mountain and they tear it across, and combining that speed with a peaceful setting, it is a real challenge for an artist to get those two things across as they clash together, and it's - to capture that I mean you go to a racetrack and that's what you expect the speed to come to a peak, you don't expect that sort of stuff.
But we are all honest in that respect, we want to get a sort of feedback, positive feedback back there. And really I think it's to get the element of speed of these guys, I mean guys like Marcus Grönholm -- I mean unbelievable drivers, and to really capture that speed with some of these on board cameras, I mean to me it was the vital thing to get across on, what a crazy sort of mountain, I mean we are talking 14,110 feet up, to drive at that speed, it takes a remarkable driver.
Scott Richardson: What was important to me was just showing how dangerous it was, I mean it's hard to believe that these guys race at that speed with, you know, just sheer drops of thousands of feet, it's just unbelievable, so we really wanted to capture that on a video.
Tim Vincent: I am glad of the opportunity to have to do it. That's the, sort of, you know, sticking in my mind of this whole project, and patch your pass up to the French and hopefully a couple of Australians did an alright job and remained in the process, you know.
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